i;iil:ii'-'!!:'!i:'::,lt>'!i!'! 












illllli 


1 

iiii 


■ 








mii:i 



III 



lililill 




Class 
Book. 



Vtf%£ 



"V 



c> 



GopyriglitF. 



COPYRIGHT DEPOSm 



Columbia ©ntberstts 

STUDIES IN ENGLISH 



THE MIDDLE ENGLISH 
PENITENTIAL LYRIC 



COLUMBIA 

UNIVERSITY PRESS 
SALES AGENTS 

NEW YORK: 

LEMCKE & BUECHNER 

30-32 West 27TH Street 

LONDON : 

HENRY FROWDE 

Amen Corner, E.C. 

TORONTO : 

HENRY FROWDE 
25 Richmond St., W. 



THE MIDDLE ENGLISH 
PENITENTIAL LYRIC 



A STUDY AND COLLECTION 
OF EARLY RELIGIOUS YERSE 



BY 



FRANK ALLEN PATTERSON. Ph.D. 



m^. 




NctD gork 
THE COLUMBIA UNIVERSITY PRESS 

1911 

AU rights reserved 



Monograph 









Copyright, 1911, 
By the COLUMBIA UNIVERSITY PRESS. 

Printed from type. Published September, 1911. 



3. 8. Cashing Co. — Eerwick <k Smith Co. 
Norwood, Mass., U.B.A. 



CLA^07:5GO 




TO 
MY FATHER AND MY MOTHER 



This Monograph has been approved by the Department of 
English in Columbia University as a contribution to knowl- 
edge worthy of publication. 

A. H. THORNDIKE, 

Secretary. 



PREFACE 

The main object of this study was at first the investigation 
of the relations of the Middle English religious lyric to 
various other kinds of lyric poetry that were well known 
in the thirteenth and fourteenth centuries; but as the work 
advanced it became apparent that the exact provenience 
of the reUgious lyric could be shown satisfactorily only by 
printing a large number of these poems with notes pointing 
out in detail the sources of general ideas and of specific Hnes, 
phrases, and words. Accordingly the completed monograph 
has taken the form of a collection of sixty-nine lyrics, with 
rather extensive notes and an introduction that sums up the 
results of the more minute study. 

Of these poems six are here printed for the first time.^ 
The prayer. No. 21, is interesting. Lydgate's poem, Timor 
Mortis Conturbat Me^ No. 38, hitherto unpublished, has much 
literary quality, and belongs to a class of poems having a 
curious source. I am gratified from a study of these Timor 
Mortis lyrics to be able to throw Hght upon the models that 
Dunbar used in the Lament for the Makaris, for it is clear 
that he took his refrain and other lines from these popular 
songs on the fear of death. 

The sixty-nine poems as a whole show a deep sincerity 
and a mystic ardor that give them unquestioned beauty. 
Such a prayer as that beginning ' Ihesu, mercy ! mercy, I 
cry,' No. 22, well bears the sub-title, A deuoyt Meditacione. 
The paraphrase of the Ave Maris Stella^ No. 43, to mention 
but one of many songs to the Virgin, is a beautiful expression 
of the knightly yet religious chivalry that delighted to honor 
Mary, 'al in liht I-schrud.' 

1 Nos. 6, 21, 26, 28, 38, 60. 
vii 



vm 

In making this selection of lyrics, I have' followed defini- 
tions and division lines that are stated in the succeeding 
pages. But perhaps I should remind the reader at the out- 
set that definitions are all too often inadequate, and that 
lines of demarcation should never stand out too prominently. 
The selections printed in this volume include all the poems 
strictly of the class studied — the penitential lyric. It would 
be rash indeed to say that no possible lyric has been omitted, 
for there are a few excluded poems that come very near the 
border line. Yet I believe that the present collection is 
practically exhaustive. 

It is a pleasure to acknowledge the help I have received 
in preparing this monograph. To the Reverend John F. 
Quirk, formerly vice-president of Fordham University, I 
am indebted for hints in regard to the classification of the 
Middle English religious lyric. I owe much to his encour- 
agement, and to the assurance he gave me that the arrange- 
ment, which I had determined upon, was strictly in accordance 
with the tenets of the CathoHc Church. Miss Helen L. 
Cohen, my friend and fellow-student, who is now engaged 
upon a study of the ballade for the present series, has given 
me several references, and has kindly offered suggestions 
concerning the section upon French influence. Professor 
Raymond Weeks of Columbia University has read the same 
section and has given me valuable hints. To Professors 
Ashley H. Thorndike, Jefferson B. Fletcher, George P. 
Krapp, Harry M. Ay res, and John Erskine, I am indebted 
for reading the manuscript. To the last three I am especially 
grateful for suggestions. It is to Professor William Wither- 
ley Lawrence, however, that I owe most. He directed my 
attention to the Middle EngHsh rehgious lyric, and through- 
out this study rendered invaluable assistance. While in 
England he secured copies and rotographs of manuscripts 
for me. To his kindly interest and friendly encouragement, 
I owe more than I am able to state. 



CONTENTS 

PAGE 

A. Introduction 1-45 

I. Classification of Middle English Religious Lyrics 1-15 

a. Definition of Terms 1-3 

b. Mysticism in the Middle English Religious Lyric . 3-4 

c. Doctrines of Mysticism 4-5 

d. Relation of Purification to Penance .... 5-6 

e. Definition of Penance according to the Council of 

Trent 6-12 

f. Classification of Penitential Lyrics . . . 13-15 

n. Influences that brought about the Development 

OF THE Vernacular Lyric .... 15-45 

a. The Liturgy 18-26 

1. Translations and paraphrases of portions of 

the services ..... 20-23 

2. Words and ideas taken from the liturgy . 23-24 
-^ 3. Relation of the Middle English religious lyric 

to the Latin hymns and to sacred Latin 
poetry 25 

b. Patristic Writings 26-29 

1. Anselm and other Fathers of the Church . 26-27 

2. St. Edmund 27-28 

3. Richard Rolle 28 

4. St. Thomas of Aquinas .... 28 

5. English Sermons ..... 29 
III. French Influence 29-45 

a. The French Secular Lyric .... 29-40 

1. ThQ chanson cf amour ; its influence . 29-37 

2. The. chanson a personnages ; Ms in^MeTict 37-40 

b. The French Religious Lyric .... 40-45 

1. Development of the ^^^^/^^/(jzj . . . 40-41 

2. Imitations of secular songs in French . 41 

3. Influence of French religious lyrics . . 41-44 

(a) The serventois and ballade . . 42-43 

{b) French religious imitations . . 43-44 

4. Later French religious poetry ; its influence 44-45 

B. Text of the Middle English Penitential Lyrics . 47-155 

C. Notes and Bibliography 157 



INTRODUCTION 



In making a study of the Middle English religious lyrics — 
or rather of a section of these lyrics — it becomes necessary 
at the outset to define carefully the limits within which the 
study is carried on. By Middle English I mean Enghsh litera- 
ture from the Norman Conquest to Tottel's Miscellany. Per- 
haps the close of the period should be set earUer in the century, 
but for the purposes of this monograph, no clear distinction 
can be drawn between the reHgious poetry of 1500 and that 
of 1557 ; the anonymous devotional poetry was all essentially 
of the same character, and was little influenced, on the one 
hand by the Reformation, or on the other by the Renaissance. 
The term religious gives little difficulty, though it is well to 
remember that religious lyric as here used does not include 
those lyrical poems of a morahzing tone which became so 
prominent in the fifteenth century. Lyrics on the general 
subject of death or the miseries of age, though often religious in 
tone, are not essentially devotional, and are therefore excluded. 
It is not my purpose to enter here into any detailed discussion 
of the many theories regarding the exact meaning of the term, 
lyric. In determining the character of any given poem I have 
employed the test used by Palgrave,^ who wrote: 'Lyrical 
has been here held essentially to imply that each Poem shall 
turn on some single thought, feeling, or situation.' We may 
dwell upon other characteristics of this form of verse — re- 
membering the history of the Provencal lyric, we may insist 
on the singing quahty of the poems, or we may declare with 

^ Preface to the Golden Treasury, London, 1861. 

B 1 



Gaston Paris that the term often means ' subjective poetry ' ; ^ 
yet we shall come in the end to believe that the one require- 
ment of the lyric is unity, and that this unity must be one of 
emotion.^ It is this principle of unity to which I have adhered 
constantly in trying to determine the general class of poems to 
be admitted into this collection. 

Having segregated all the religious lyrics, we find that it is a 
far more difficult task to discover a further classification mthin 
which these poems shall be distributed according to their true 
nature. From the time of Warton to the present day, the 
prevailing method has been to group them by means of 
external — almost accidental — names, such as Prayers to 
God, to Christ, and to the Virgin Mary. But such a classifica- 
tion is at open variance with the conception of the lyric as given 
above, for the unity of the lyric is not expressed by a title 
chosen from some convenient external feature of the poem, 
but by a title which in itself signifies the nature of the emotion 
that is embodied in the lyric. 

That such a division of lyrics as Prayers to God must contain 
poems which differ widely in the kinds of emotion that they 
express, hardly needs proof ; and that such a grouping cannot 
include all the poems which resemble one another in their 
emotional characteristics is admirably illustrated by No. 56 
in this collection — A preyer to ]>e fine woundes. In content, 
this poem is a prayer to Christ, asking that his love may be 
fixed in the heart of the suppliant. In the notes there is 
printed a second poem, which is obviously modeled upon this 
lyric, but with this difference, that Mary has been substituted 
for Christ and her five joys for the five wounds — yet the 
emotional quality of the poem remains unchanged. German 

^ On prend quelquefois le mot de poesie lyrique dans le sens de poesie sub- 
jective, exprimant des sentiments tout personnels ; dans ce sens il exclut n^ces- 
sairement la plus grande partie de la poesie populaire. La LiUerature Franqaise 
au Moyen Age, Paris, 1905, p. 191. 

2 See Erskine, The Elizabethan Lyric, New York, 1903, Chapter I, for a further 
development of this theory. 



scholars have Hkewise classed together all the addresses to 
Mary and have called them Mariengebete, or have collected the 
lyrical and dramatic laments of the Virgin and have called 
them Marienklagen. In the latter case the classification is 
perfectly legitimate, for the title signifies the nature of the 
poem; but for the Mariengebete no such excuse exists, as a 
prayer to Mary may express any one of many religious emo- 
tions, — it may be a prayer of confession, a supplication for 
mercy, an avowal of reformation, or an expression of mystic 
love-longing. In fact, a title more artificial and meaningless 
would be hard to find. Such a division has the advantage of 
being easy to define, for any one can tell a Mariengebet; but, 
like the similar classification spoken of above, it fails to reveal 
the essential nature of the poem, or the underlying and de- 
termining emotion of the poet, and so fails in a most important 
requisite, because the lyrical expression of an emotion demands 
more than a mere chance-chosen title. A classification that 
pays no attention to the lyrical units involved must be un- 
satisfactory. 

Since the existing method of classification fails to arrange 
these poems according to their essential characteristics, and puts 
beside one another lyrics of the most diverse emotions, it may 
be profitable to approach the subject from a different point of 
view, and instead of considering merely external features as a 
basis for grouping, to look rather at the internal character of 
the poems. 

An important fact in the history of religion in Western 
Europe during the twelfth and thirteenth centuries was the 
growth and spread of mysticism. It is hard to believe that 
these poems, arising for the most part directly as a result of 
that religious awakening, would not show in almost every line 
traces of such influence. As a matter of fact, even the most 
trite and conventional of these lyrics, such as poems of con- 
fession, indicate in a surprising manner, by chance phrases, 
how intimately the new rehgious ideals had entered into the 



life of the people and of their clergy. There is scarcely a poem 
in this selection that does not give evidence in its thought, 
injts realistic handling of details, in its expression of self- 
annihilation, of lively horror of sin, or of passionate love- 
longing for God, that mysticism, whether accepted by all the 
writers or not, had yet in every case left its impress upon their 
minds. Since the religious lyrics in Middle English as a whole 
are above all else mystic, to mysticism we must look for assist- 
ance in determining our classification. 

Mysticism, as it developed in Western Europe during the 
twelfth century, was a reaction against the cold, intellectual 
tenets of scholasticism. Its fundamental doctrine was an 
implicit, unquestioning faith that appealed directly to the 
feelings. Its purpose was a union with God in this earthly 
life ; and its method was extremely plain, for it demanded only 
a complete, all-absorbing consecration. The constant prayer 
of the mystics was for a closer walk with God, while their 
daily Kfe was a practical justification of the Christian faith. 
Since this absolute devotion needed little theory, mysticism in 
the twelfth century was essentially a simple method of life, 
free from all the intricate doctrines of scholasticism. Its 
main principles may be stated easily. 

St. Bernard and his followers declared that the soul in its 
progress to God passed through three distinct stages. The 
first was called purificatio, in which the soul was purged by 
penitence from the gross sin in which it had been born, and 
had lived. In this stage of purification most men spent their 
lives, 'euer lyk to synne and euer repenting.' It is this first 
degree of love for God that 'behoues ilk man haue fat wil be 
safe.' ^ Some, however, attained a more perfect state, and 
entered the second stage, illmninatio , in which their souls 
reached a higher purity than they had before experienced, and 
were filled with a longing for God in His beauty. To a very 
few — a much smaller number than is generally believed — 

' R. R., I, 53- 



it was vouchsafed at times to pass into a third stage, con- 
templatio, where their spirits saw and heard things not lawful 
to utter. ,, , 

Mysticism, it should be noticed, was from its inception in 
closest touch with the Church. It had its very roots in the 
writings of the Apostles, notably of St. John and St. Paul ; ^ 
and its development, though doubtless influenced by the writ- 
ings of pagan mystics, was not without the Church, but within it. 
So, as mysticism spread and developed, it affected the Church 
from within, but in so slow and orthodox a manner that the 
change was universally felt only in the more exalted ideals of 
those who lived the contemplative life, or in the increased 
sincerity and usefulness of those who lived the active life. 

I suggest that the Middle English religious lyrics, since 
they were written either by mystics themselves, or by poets 
that had come under the influence of mystic thought and expe- 
rience, should be grouped according to the different states of 
mystic progress, or to put it more clearly, according to the 
three main principles of mystic doctrine. Such a division would 
have the advantage of including those religious lyrics that are 
not, at least to us, pecuHarly mystic, for mysticism itself in- 
cluded all the doctrines and sacraments of the Church; and 
so, while this classification would not exclude the humblest 
and most commonplace of prayers, it would yet have room for 
the most exalted songs of mystic experience. But because a 
classification cannot be made strictly according to the differ- 
ent stages of mystic progress, in grouping I would abandon the 
technical names of these states, and be content to apply the 
principle without insisting upon too rigid division lines ; for, 
indeed, no system of classifying poems should be too strictly 
followed out. 

In the first large division are grouped those poems that 
express repentance in its widest sense, as it hardly needs to be 
said that the essence of the purification stage was the expul- 
^ Cf. Inge, Christian Mysticism, London, 1899, Lecture II. 



si on of sin by penitence, by deep sorrow, *by weeping sin- 
cerely and by wearying heaven with prayers.' ^ In the second 
division are included those poems which are connected more 
naturally, perhaps, with mystic belief — such as the songs of 
love-longing, and certain prayers, especially meditations, 
which were often composed by the mystics to further their 
progress in divine love. This second group includes prac- 
tically all the lyrics outside the first class, for, though mystics 
that entered the highest state of love were evidently wont to 
burst into song,^ for present purposes there can be no distinc- 
tion drawn between different degrees of love-longing. The two 
larger divisions, then, of EngHsh religious lyric poetry of the 
Middle Ages are : — 

I. Poems of Purification. 

11. Poems of Divine Love-longing (including all poems 
that express emotions peculiar to the states of 
illuminatio and of contemplatio) . 

It is with the first class of poems that this study deals. 

Penance, the Church has always held, is the first duty of the 
sinner. The mystics laid much emphasis upon this sacrament ; 
St. Bernard declared with the Psalmist that the 'first sacrifice 
to be made to God is a troubled and contrite heart,' ^ and every 
mystic treatise affirmed that the chief acts of purification were 
those connected with penitence. Instead, then, of using 
Poems of Purification as a title for this division of lyrics, I shall 
use Penitential Poems, as being more self-evident in its meaning 
and more easily limited according to Church doctrines. 

The Council of Trent in 1551 acknowledged and defined the 
Sacrament of Penance ^ as follows : — 

^ Cf. St. Bernard, Sermones in Cantica Canticorum, xxxvii, Paris, 17 19. 

^Richard Rolle, Horstman, I, 59. 

3 St. Bernard, Sermones in Cantica Canticorum, x ; translated by Eales, Lon- 
don, 1896, IV, SI. 

* The Canons and Decrees of the Sacred and (Ecumenical Council of Trent. 
Translated by the Reverend J. Waterworth, London [1848], pp. 92-96. 



But because God, rich in mercy, knows our frame. He hath bestowed 
a remedy of life even on those who may, after baptism, have de- 
livered themselves up to the servitude of sin and the power of the 
Devil — the sacrament, to wit, of Penance, by which the death of 
Christ is apphed to those who have fallen after baptism. 

Session XIV, chapter I. 
It further declared : — 

The acts of the penitent, himself, to wit, contrition, confession, and 
satisfaction, are, as it were, the matter of this sacrament. Which 
acts, inasmuch as they are, by God's institution, required in the 
penitent for the integrity of the sacrament and for the full and per- 
fect remission of sins, are for this reason called the parts of penance. 

Session XIV, chapter III. 
Contrition, which holds the first place amongst the aforesaid acts of 
the penitent, is a sorrow of mind, and a detestation for sin committed, 
with the purpose of not sinning for the future. . . . Wherefore the 
holy Synod declares that this contrition contains not only a cessa- 
tion from sin, and the purpose and the beginning of a new life, but 
also a hatred of the old. 

Session XIV, chapter IV. 

And as to that imperfect contrition, which is called attrition, be- 
cause that it is commonly conceived either from the consideration 
of the turpitude of sin, or from the fear of hell and of punishment, 
It declares . . . that it is even a gift of God. 

Session XIV, chapter IV. 

Penance then consists of three parts : contrition, confession, 
and satisfaction. The last, satisfaction, which consists of the 
* acceptance and accompKshment of certain penitential works, 
in atonement of the sin confessed,' ^ obviously cannot concern 
us here, and may be dismissed. Contrition, the Council de- 
clared, consists of (i) a sorrow for sin ; (2) a purpose of amend- 
ment, together with a hatred of the old life. It also stated that 
imperfect contrition, or attrition, under which men ordinarily 
repent, arises from the * consideration of the turpitude of sin, 
or from the fear of hell and of punishment.' Confession is a 
declaration of sin before an approved priest, either in public or 
private. 

^ The New International Encyclop(Bdia, New York, s.v. Penance. 



8 

This very full and accurate definition of the Sacrament of 
Penance was not new to the Church when the Council of 
Trent promulgated it in 1551. The Lateran Council in 12 15 
had ordered laymen to confess at least once a year, and in the 
literature of the later Middle Ages constant references to the 
Parts of Penance are found. Dante was familiar with the 
doctrine, and EngHsh Hterature abounds in references to iden- 
tical conceptions — as witness Chaucer's Parson, who declares 
that 'contricioun is the verray sorwe that a man receyveth 
in his herte for his synnes, with sad purpos to shryve hym and 
to do penaunce, and neveremoore to do synne.' ^ Likewise, 
the Prymer of Salisbury begins a short treatise on Confession 
in these words : — 
^ Fyrst : What is penitence ? 

Penitence is the emendacyon of the lyfe, with inwarde con- 
tricyon of hert for the S3nine committed : with a full purpose 
never to do the synne agayn.' ^ 

Applying this definition of penance, as it was fully stated in 
the acts of the Council of Trent, to the classification of the 
penitential lyrics, we find that they fall naturally into two 
classes. In the first group are those poems which express a 
confession of sin ; ^ in the second, those in which the emotion is 
that of contrition. This latter class is further divided into 
two groups : poems expressing a sorrow for sin, and poems 
expressing a desire for amendment. 

In the practical appHcation of these theories of classification, 
as has been said, it must be borne in mind at every point that 
the lines of demarcation must not be drawn too rigidly. The 
lyric in itself involves unity of emotion. It is the nature of 
this unit as a whole, not of single detached elements of this 
unit, that must finally determine the classification of a poem. 

^ The Parson's Tale, 11. 127-130. 

2 Maskell, Monumenta Ritualia, London, 1846, II, p. 271. 
^ For reasons of simplicity, I have in grouping placed confession before con- 
trition. 



9 

To illustrate, confessions early in the thirteenth century or 
before took conventionalized forms in which the main ele- 
ment was a rehearsal of sins ; but the fact that a sinner enumer- 
ates his sins impHes contrition on his part as the cause of such 
enumeration. It would be strange indeed if expressions of 
this fundamental cause — a sorrow for sin — did not at times 
enter into the strictest of confessions. And so in the first 
poem, A General Confession, there are lines which plainly 
indicate contrition. Again, take No. 22. In this poem 
we have an acknowledgment of the seven deadly sins, and 
other elements that come directly from hturgical confes- 
sions, yet the scribe was clearly right in calling the prayer 'a 
deuoyt Meditacione ' ; for there is no poem in this collection 
that in its entirety gives so complete an expression of a contrite 
and sorrowing sinner. Thus David, in what is perhaps the 
most perfect example of a contrition poem ever written, finds 
occasion to say, 'I acknowledge my transgressions, and my 
sin is ever before me.' In truth, it is hard to conceive of a 
man as expressing a real deeply felt sorrow for sin, without 
incidentally mentioning the sins for which he is penitent. 

So it must be remembered, that, though the parts of penance 
were clearly estabhshed in the minds of medieval Christians, 
in the classification of penitential poems the boundary lines 
are not fast and firm, but are ever fluctuating; since in its 
very nature, confession impHes contrition, and contrition im- 
plies at least something of confession. The Council had indeed 
said as much as this, for it declared that there are three prin- 
cipal emotions in the mind of the penitent — confession of 
sin, sorrow for sin, and a desire for amendment. We shall find, 
therefore, that all these emotions may enter into a penitential 
lyric, and yet not destroy its perfect unity. It is the predomi- 
nance of one emotion that must determine the emotional unity 
of the poem, and hence, its classification. 

This grouping has little of the rigidity that it appears to 
assume when presented in outhne as hereafter. The chief 



10 



value of the definitions gained from the Council of Trent Kes 
in the fact that they give us a firm basis for determining what 
constitutes a penitential lyric. If by using these definitions 
we are able to group the lyrics among themselves, and so, by 
psychological principles, to place in proximity poems of like 
nature, it is desirable ; but it must always be distinctly under- 
stood that such a grouping is entirely tentative and suggestive, 
and by no means inevitable. 

A few words further in regard to the practical application of 
this scheme will not be out of place. A confession, as I have 
considered it, is a poem in which the main emotion is an 
acknowledgment of sin. The confessions based upon the 
liturgy furnish the standard. These I have divided into two 
classes, public and extended confessions. The public con- 
fession is the confiteor that was used in all the Western churches 
during the time in which these poems were written. It con- 
sisted of two parts : the confession proper, in which acknowl- 
edgment of sin was made; and the prayer for intercession 
with which it closed.^ So in any confession poem the main 
element is a declaration of sin ; but at the same time a prayer 
for forgiveness and mercy, corresponding to the prayer for 
intercession, is natural, and strictly in agreement with the 
model confiteor. Extended confessions are a further develop- 
ment of liturgical forms. They are found in EngHsh as well as 
in Latin prose. They are most frequent in the Prymers, where 
they were evidently used as private devotions. They are 
usually, though not necessarily, addressed directly to the 
Divinity, and consist of a detailed rehearsal of sins, covering 
the ten commandments, the five wits, the seven deadly sins, 
and other conventional enumerations of error and wrong- 
doing.^ 

Other confessions have the same general emotion as the 
liturgical poems ; but the acknowledgment of sin is less formal, 

1 See the note to No. i for a model confession. 

2 See the note to No. 3 for a typical extended confession. 



11 



while the prayer for mercy is likely to occupy a more promi- 
nent part, appearing often in every stanza. 

Contrition poems are those in which the main feeling is 
(i) a sorrow for sin or (2) a purpose of amendment. The emo- 
tion of the first class of these poems may arise from a ' con- 
sideration of the turpitude of sin or from a fear of hell and of 
punishment.' Hence, we infer that a contrition poem may 
deal with past sins ; in this form of prayer the sinner loathes 
his infirmities, and calls out to God for pardon and mercy.^ 
Or a contrition poem may express Httle of what is usually 
considered sorrow for sin, as the poet becomes more and more 
concerned with a fear of the future judgment in his typical 
cry, 'Loverd, shyldme vrom helle deth.' ^ 

The second group of contrition poems — I do not care to 
say division, for the line of separation is not marked, neither 
is it necessarily fundamental — consists of poems in which the 
main emotion is a purpose of amendment, stated or implied. 
Hence, in this second group, the poems deal principally with the 
future earthly life, not as in the first group, with the past life 
or the future judgment. Sometimes, as in No. 49, the poet 
resolves definitely to reform. More often, however, the peni- 
tent prays that in the future he may do no more deadly sin, 
and that he may have Heaven's protection from harm and the 
wiles of the devil. 

It may seem that the distinction between these two groups 
of contrition poems is too slight to justify a separation. Since 
in grouping poems within a large division, it is desirable to 
place near each other pieces of identical emotion, so long as we 
keep within the large class, we may group as the emotion seems 
to indicate, without, however, establishing too sharp division 
lines. By comparing a typical poem of the former group with 
one from the latter group it will be at once apparent that the 
two subdivisions are fairly distinct, and that, were the Hne of 

1 The typical example of this group of contrition poems is found in the fifty- 
first Psalm, before mentioned. 2 j^q jj^ 



12 



division withdrawn, we should have poems of unHke nature in 
close proximity. Take for instance, the first lines of No. 22: — 

Ihesu, mercy 1 mercy, I cry : 

myn vgly synnes fou me forgyfe. 
pe werlde, my flesch, f>e fende, felly 

fai me besale both strange & styfe ; 
I hafe ful oft to f aim consent, 

& so to do it is gret drede ; 
I ask mercy with gud en tent ; 

Ihesu, mercy for my mysdede ! 

Throughout this poem the predominating emotion is a sorrow 
for sin, for the poet is thinking almost entirely of his past life 
and of the future judgment. Compare with this poem the 
Lord's Prayer, either in the translations or the paraphrases,^ 
and it will be seen that the main emotion is always a desire to 
be kept from sin and to be helped in this present earthly life. 
Thus the original of the poems reads : ' Thy kingdom come : 
thy will be done in earth as it is in heaven ; give us this day our 
daily bread. . . . Lead us not into temptation, but deliver 
us from evil.' It is obvious that, although the poems of the 
two groups have elements in common, — for the Lord's prayer 
has the petition, 'Forgive us our trespasses,' — to place 
together poems as unlike as are the typical ones compared 
above, is to introduce needless confusion and to disregard their 
real nature. 

I have elsewhere treated the indebtedness of many of these 
lyrics to the liturgy ; accordingly I have subdivided each large 
group into liturgical and non-liturgical lyrics ; and I have 
further tried to group poems of a like nature by placing together 
all lyrics with similar titles, when such poems have a common 
underlying emotion. 

* Such, for instance, as No. 40. 



13 



Classification of Penitential Lyrics 

A. Poems of Confession. 

I. Liturgical. 
a. Public. 

(i) I. A General Confession. 

(2) 2. A Form of Confession. 
h. Extended. 

(3) I. General Confession of Sins. 

(4) 2. A Confessioun to Ihesu crist. 

II. Non-Liturgical. 
a. Informal. 

(5) I. As I wandrede her bi weste. 

(6) 2. I wite my self myne owne woo. 

(7) 3. A Prayer to our Lady. 

(8) 4. He>e louerd, f>ou here my bone. 

(9) 5. God fat al fis myhtes may. 

B. Poems Expressing Contrition. 
a. Sorrow for Sin. 

I. Liturgical. 
a. Paraphrases and Translations of Portions of Services. 

(10) I. The Prayer. 

(11) 2. Loverd, Shyld Me vrom Helle Deth. 

(12) 3. In Manus Tuas. 

(13) 4. To our Lady. 

h. Poems Built upon the Litany. 

(14) I. Prey We to the Trinyte. 

c. Other Poems Showing Strong Liturgical Influence. 

(15) I. A Short Prayer after the Levation for Mercy. 

(16) 2. A preyer at )>e leuacioun. 

(17) 3. Ihesu, FiH Dei, Miserere Me. 

(18) 4. Prayer for God's Mercy. 

(19) 5. Prayer to Mary. 

(20) 6. Prayer to St. Elene. 

(21) 7. Deus in nomine tuo saluum me fac. 



14 



II. Non-Liturgical. 

a. Prayers to the Deity, 

(22) I. Ihesu, Mercy for my Mysdede ! 

(23) 2. An orisoim to vr lord Ihesu. 

(24) 3. Ihesu Criste, haue mercy one me. 

(25) 4. her biginne)) an orisun of f e trinite. 

(26) 5. Do mercy to fore thi jugement. 

(27) 6. lesu crist, heouene kyng. 

(28) 7. To The, Maist Peirlas Prince of Pece. 
h. Poems to the Virgin Mary. 

(29) I. Hail, Mary! 

(30) 2. Hymn of the Virgin. 

(31) 3. An Orison to our Lady. 

(32) 4. A Song to the Virgin. 

(33) 5- Nou skrinke)) rose & lylie flour. 
c. Timor Mortis Poems. 

(34) I. The best Song as hit seme th me. 

(35) 2. Evere more, where so euer I be. 

(36) 3. In what estate so euer I be. 

(37) 4. Alas, my hart will brek in thre. 

(38) 5. Timor Mortis Conturbat Me. 
IB. Prayers to Be Kept from Sin, and for Aid. 

I. Liturgical. 

a. Translations and Paraphrases. 

(39) I. Pater Noster in Anglico. 

(40) 2. Pater Noster. 

. (41) 3. Hymn to God. 

(42) 4. Heyl, levedy, se-stoerre bryht. 

(43) 5. A Prayer to the Virgin Mary. 

(44) 6. Come, Shuppere, Holy Gost. 

(45) 7. A Prayer for Grace. 

(46) 8. To )?e gude angell. 
11. Non-Liturgical. 

a. Resolves to Reform. 

(47) I. A Resolve to Reform. 



15 

b. General Prayers to the Deity for Protection from Sin. 

(48) I. A Morning Thanksgiving and Prayer to 

God. 

(49) 2. An Orisoim to god. 

(50) 3. Mane Nobiscum, Domine ! 

(51) 4. Prayer for the Seven Gifts of the Holy 

Ghost. 

c. Prayers to Christ. 

(52) I. Oratio magistri Richardi de castre, quam 

ipse posuit. 

(53) 2. H)nim to Jesus Christ. 

(54) 3. Alya Cantica. 

(55) 4. An Orisoun to Jje fyue Woundes of iesu 

cristus. 

(56) 5. A preyer to fe fiue woundes. 

(57) 6. Invocation to the Cross. 

d. Prayers to the Virgin Mary, 

(58) I. Godric's Song to the Virgin. 

(59) 2. To the Virgin Mary. 

(60) 3. Oracio ad Sanctam Mariam. 

(61) 4. A preiere to vre ladi. 

(62) 5. Another Prayer to the Virgin Mary. 

(63) 6. An orisoun to the fyue ioyes of vre lady. 

(64) 7. H3ann to the Virgin. 

(65) 8. Iblessed beo fu, Lauedi. 

(66) 9. Seinte Marie, Moder Milde. 

(67) 10. An orison to vr lady. 

(68) II. The Five Joys of the Virgin. 

(69) 12. Hymn to the Virgin. 

II 

This monograph does not attempt to study the early history 
of the Middle EngUsh lyric, or to give a mere repetition of facts 
already many times told and readily accessible. No attempt 



16 

then will be made to sketch the chronological development of 
the vernacular lyric.^ The problems with which the remainder 
of this study has to deal are two : first a consideration of the 
conditions of medieval EngHsh Ufe which brought about this 
apparently sudden growth of the vernacular religious lyric ; 
and secondly, a study of the Hterary influences that affected 
the poems printed in the present volume. 

It is probable that the Middle English reUgious lyric did not 
develop so quickly as the few early poems that have survived 
might lead us to believe. Extant specimens of religious lyrics 
in Anglo-Saxon prove that the vernacular was sometimes used 
in this kind of verse. ^ There are references in the Latin 
chroniclers, also, that sustain the point. Particularly inter- 
esting is the account which William of Malmesbury ^ gives of 
Aldhelm,^ who used to stand on a bridge, singing secular dit- 
ties till he had gained the attention of passers-by, when he 
began gradually to introduce rehgious ideas into his songs. 

During the years preceding the Norman Conquest as well as 
during the century following it, the practice of singing religious 
songs in the vernacular can hardly have been uncommon. It 

1 There is no good history of the Middle English lyric. Ten Brink's account 
in his History of English Literature, though slight, is the most satisfactory. 
Something will be found in other histories of Middle English hterature, though 
as a rule such accounts are of httle value, for the main interest of the writers of 
general histories Ues in other fields, such as romances and tales. Of the 
special studies, Mr. E. K. Chambers's essay, in Chambers and Sidgwick's Early 
English Lyrics, is enlightening ; he deals especially with the origin of the lyric. 
In this connection should be mentioned two notable studies by French scholars 
on the origin of the French lyrics — A. Jeanroy, Les Origines de la Poesie lyrique 
en France au Moyen Age, Paris, 1892 ; and Gaston Paris's review of the same 
in the Journal des Savants, 1892. For the later lyrics, Professor Padelford's 
Chapter on Transition Song Collections, in the Cambridge History of English 
Literature, should be mentioned; his introduction to the Early Sixteenth Cen- 
tury Lyrics is also excellent. The field of the Middle English lyric is interesting 
in many ways; I hope some time to write an account of the development of 
this vernacular verse. 

^ Cf. Grein und Wiilker, Bihliothek der angelsachsischen Poesie, II, 211 ff. 

' De Gest. Pontif. Angl. Lib. V, Pars prima, in Migne, PatrologicB, 179, 1621. 

^ Aldhelm died in 709. 



17 

is only from the latter part of the twelfth century, however, 
that the earhest extant religious vernacular lyrics date. St. 
Godric, who died in 1170, wrote three short EngHsh poems. In 
these songs are found all the essential qualities of later lyrics — 
the mysticism, the expression of divine love in terms of worldly 
affection, and to a slight extent, the liturgical origin of phrases. 
A little later the Poema Morale ^ and On God Ureisun of ure 
Lefdi 2 were written. It is impossible from this time to trace 
with accuracy the history of the English rehgious lyric. 
Poetry as a means of rehgious instruction or as a mode for 
expressing divine emotion became popular in a manner that 
was doubtless unknown in England before. Every kind of 
religious feeling found expression in verse ; prayers fell natu- 
rally into rhyme, and sermons took the Hkeness of poetry. 
Friars found it convenient to set forth in easily remembered 
verse the simple teachings of the faith, and monks in their 
monasteries turned irresistibly in their adoration for Mary to 
expression in song ; even the lonely hermit having reached the 
glories of a union with God, exclaimed, 'fe sange of louyng & 
of lufe es commen.' ^ 

Yet with all this verse-making there existed much doubt of its 
real religious value ; for, when friars, monks, clerks, and even 
laymen took to numbers, it was doubtless time to consider 
if the arch-fiend were not sometimes to be detected therein 
working out his own designs. For this reason Richard RoUe 
hastened to explain in regard to the songs which he had previ- 
ously declared a convert might sing while in the third degree 
of love, ' nogth bodyly cryand with ))e mouth — of fat maner 
of syngyn speke I nogth, ffor fat sang has bath gud and ille.' ^ 

^ The Poema Morale is not strictly speaking a lyric, but rather a sermon in 
lyrical verse. The consensus of opinion seems to be that the oldest MSS. date 
from the late twelfth century. See Anna C. Paues, A Newly Discovered MS. 
of the Poema Morale, Anglia, xxx, 217. 

2 Cotton. MS. Nero A xiv; printed, Morris, E. E. T. S., 34, 191. 

' Richard Rolle, in The Form of Perfect Living, R. R., I, 32. 

* Form of Perfect Living, R. R., I, 33. 
c 



18 

A proper precaution, indeed, but in view of RoUe's own habit, 
even in this treatise, not so very convincing. A hundred years 
before this the holy St. Edmund had felt some compunction on 
the general subject of prayers in verse, and had made bold to 
say, 'f)erefore he do)) gret schome and gret vnreuerrence to 
god fat takej) him to Rymede wordes & queynte, and leuef fe 
wordes and \>e prey ere fat he vs tauhte.' ^ The saint, how- 
ever, did not actually think it such ' foul lechery to dely ten in 
such Rymynge' as one might conclude, for he himself made 
several lyrics in 'turned langage and rymed,' one of which is 
represented in this volume.^ 

Thus it was that during the thirteenth century there were 
written many religious lyrics — how many, we can judge by 
the large number yet preserved in spite of the ravages of 
the Reformation, and by the constant references in didactic 
treatises to these poems of divine love and devotion. Though 
it is impossible to give anything like an adequate history of the 
beginning of this rehgious poetry, it is possible to study the 
influences that were at work, and from such a study to draw 
in large outHne a description of the conditions out of which 
this kind of religious verse in England developed. 

The rehgious lyric in England before 1200 had found com- 
plete expression in Latin. In this language were written the 
hymns that were used in the Church services as well as much 
poetry of private devotion. During the twelfth and thir- 
teenth centuries, however, a tendency that had been present 
in the Church from its very foundation came to be a promi- 
nent part of its life. Mysticism took a commanding place in 
religious thought and experience in England. The main 
doctrines of the mystics have been mentioned already and need 
not be repeated. This system of behef worked out in two 
distinct directions, paradoxically opposite. The first tendency 
of the mystic was perhaps toward isolation; he naturally 
sought to remove himself from the world and to find in seclu- 

1 The Mirror of Si. Edmund, R.R., I, 251. 2 >^o. 23. 



19 

sion the blessedness of a union with God. It was thus that 
St. Godric and Richard Rolle found the rewards of a lonely 
contemplative life exceeding precious. 

But there was another side to reHgious life, even as led by 
mystics. Since it had been recorded of the founder of mys- 
ticism that he went about doing good, his followers of the 
twelfth century remembered well his example. Even Richard 
Rolle, though declaring that the contemplative life is higher 
than the active, urges his friends not to enter it hastily, but 
rather to remain in the humbler station. His own example 
in rendering the Psalms and in writing for the laity shows his 
sincerity. It is this second, practical tendency of the mystic 
movement that is most interesting to the student of the religious 
lyric. The result of the development of mysticism in England 
was an awakening of the Church, and a widespread revival- of 
religion that causes the period to be called to-day by writers on 
the history of the Church, 'The thirteenth, greatest of cen- 
turies.' ^ Under the impelling love of God, which mysticism 
had aroused, there were written tracts, homilies, legends, and 
poems whose purpose was to create in the ignorant laity a 
deep religious Hfe.^ So it came about that, though Latin was 
retained in the formal Church services as preserving more 
perfectly the dignity and reverential awe suitable to public 
worship, the vernacular came into use for the more practical 
purposes of the active life. From using the common lan- 
guage for the purpose of reHgious teaching, it was but a step 
to expressing that teaching in poetical form, always more 
pleasing to th€ popular ear, and more easily remembered. 
It is not strange, then, that among the early Middle English 
reHgious lyrics are found versified renderings of the Pater 
Noster and Creed. The missionary spirit, the practical side 
of mysticism, was the leading motive in the development of the 
vernacular religious lyric. This phase of mysticism accounts 

1 The reference is to Dr. J. J. Walsh's recent book of the same name. 

2 Cf . Horstman in the Introduction to Richard Rolle of Hampole, I, xii-xiii. 



20 

in part for the large number of liturgical lyrics found in this 
volume. Not that Latin poems were no longer written, — 
they were produced in abundance, — but the selfish desire to 
write in a language understood only by the clerks was no 
longer supremely attractive; literary art was sacrificed to 
rehgious devotion; and the ignorant laity were taught in 
simple, homely words the mysteries of the faith. 

Another influence that helped to develop the English reli- 
gious lyric was the vogue of the chansons in France. While all 
England was being stirred by this deep religious awakening, ^ 
there came the knowledge that poets across the Channel were 
singing songs of worldly love in their native tongue. The Eng- 
lish had always had a pecuHar love for the Holy Virgin, a 
love that mysticism had intensified into an ardent adoration. 
It needed only a hint from France to cause this enthusiasm to 
burst forth. So it is that among the earliest Middle English 
lyrics are some that are Hturgical and some that sing in glowing 
terms of divine love. 

The principal influences, then, that brought about this 
development of English religious verse were, first, the mission- 
ary spirit of mysticism ; and secondly, the custom in France of 
singing songs of worldly love in the spoken language. Further- 
more, the Hterary influences that affected these lyrics were 
likewise of two kinds — Latin and French. 

Ill 

The influence of Latin upon the Middle English religious 
lyric comes from two main sources, the Hturgy and patristic 
writings. Of these two influences, that of the liturgy is far 
more important; the influence of the sermons and treatises 
of the Fathers is comparatively slight. The actual sources 
of the early vernacular religious lyric lie, in most cases, in the 
words of the services of the Church — words that were read, 
sung, and prayed, not daily only, but often several times daily. 



21 

It will not be amiss to consider in some detail the various 
ways in which the religious poet turned the liturgy to the uses of 
lyric verse. 

The intimate relation between the liturgy and the vernacular 
lyric in England is seen most obviously, perhaps, in the large 
number of metrical translations. As already stated, the 
clerks, in their anxiety to make the ways of salvation clear and 
open to the ignorant, and at the same time attractive and easily 
remembered, often rendered the more important portions of 
the services into rhymed verse. 

The Public Confession, which was used by the people before 
the Mass, was often rendered in verse, sometimes with faith- 
ful accuracy, more often merely paraphrased. The Extended 
Confessions, which seldom were used in the formal services, 
but which are found in almost all the Prymers, were frequently 
rhymed, sometimes doubtless for the devotion of the poet 
himself, but far more often to serve as the private confession 
to God of the unlettered laity. There is a conventional spirit 
about these poems that seldom allows them to become sub- 
jective ; even in Dunbar, the missionary spirit is easily read 
between the lines, for such a study as the present one reveals 
clearly that, in spite of the statements of editors, the poet is 
making no serious personal admissions. 

The Lord's Prayer was particularly popular witl; metrical 
translators. Paraphrases also of this prayer were often made. 
Still more noticeable is the widespread habit of embedding 
the Pater Noster entire in a religious lyric where we should 
hardly expect it to occur. Other prayers were often rendered 
in verse. When the translator of the York Hours came to the 
long Prayer he instinctively turned from prose to poetry. The 
liturgical prayer. In Manus Tuas, was constantly put into 
vernacular verse for the daily use of the devout. 

The antiphons, responses, and versicles were often rendered 
into poetry. Thus, the poem, Loverd, Shyld Me vrom Helle 
Deth, No. II, is an almost literal translation of the response 



22 

and versicles following the ninth lesson in the Offices of the 
Dead. To pe gude angell, No. 46, is a rendering of a portion of 
the Office of the Proper Angel, according to the use of Sarum. 
The many poems that celebrate the joys of the Virgin go back 
ultimately to certain antiphons in the Horae. Sometimes the 
paraphrase is fairly close, but often, as in Nos. 63 and 68, the 
resemblance is not marked ; of the ultimate origin of this class 
of poems, however, there can be no doubt.^ 

Portions of scripture, especially the seven penitential 
Psalms, were often versified. No. 21 is an interesting transla- 
tion and expansion of Psalm 53. Very often some incident 
related in the Bible forms the basis for a poem. Thus No. 17, 
Ihesu, Fill Dei, Miserere Mei, is founded upon Christ's visit 
into the coasts of Tyre and Sidon, as told in Matthew 15 : 21-22. 
No. 50, Mane Nobiscum, Domine, tells of the walk to Emmaus, 
and adapts the words of Caiphas, Dwell with us, Lord, as a 
prayer suitable for all Christians. 

Some of the hymns of the Church were rendered into Eng- 
lish, yet not so many as one might suppose. Friar Herebert is 
the translator of the only h3anns found in this volume — the 
Ave Maris Stella and Veni Creator Spiritus. The note attached 
to the manuscript poems impHes that they were frequently 
used for devotional purposes: *Qui usum hujus quaterni 
habuerit, oret pro anima dicti fratris.' But^ after all, since 
hymns were not indispensable to the spiritual welfare of the 
common people, it need cause no surprise that so few of them 
were put into vernacular verse.^ A late paraphrase of the 
Ave Maris Stella forms one of the most beautiful poems among 
the Middle English religious lyrics, but it is not a typical ren- 
dering, either in its purpose, which is far from missionary, or 
in its emotion, which is largely subjective. 

Closely related to the paraphrases are a number of poems 
that take their subjects from lines in the services. Thus, 

1 Cf. No. 63, 14, note. 

? There are, of course, some translated h)nnns still unprinted. 



23 

upon a single prominent liturgical thought, a writer will often 
develop a unified poem. A line from the response after the 
eighth lesson in the Offices of the Dead furnished the theme 
for many Middle English lyrics — the Timor Mortis poems. 
No. 34, likewise, employs almost all the original response, 
incorporating the Latin lines, not as refrains, but as integral 
parts of the poem. No. 28 makes use of the liturgical hne, 
Miserere mei, deus, as a text in the form of a refrain. 

A number of poems take the htany as a foundation. No. 14 
is little else than an invocation after the manner of the litany ; 
No. 13 forms one of several prayers to various divine person- 
ages ; and No. 4 closes with the Ktany. 

Some poems, though they have no direct source in the ser- 
vices, are evidently modeled after liturgical prayers or were 
made for use during worship. A preyer at />e leuacioun, No. 16, 
is sufficiently explained by its title. Such prayers seem to have 
been widely used during the Mass.^ The first lines of No. 15, 
A Short Prayer after the Levation for Mercy, give an idea of 
these poems : — 

Lord, als fou can, & als f>ou wille, 
haue mercy of me, fat has don ille ; 
for what-so fou wif> me wil do, 
I holde me payde to stonde f>er-to. 

This poem probably had no direct original in any order of the 
Mass, yet were it not found in the Lay Folks' Mass Book there 
were no proof needed to show its liturgical origin. The pray- 
ers to Mary, No. 19, and to St. Elene, No. 20, likewise suggest 
liturgical nature and use. 

The influence of the Kturgy upon these poems is felt in more 
ways, however, than in mere translations and paraphrases; 
the most important contribution of the services was in the 
countless words, phrases, and ideas that they gave to the poets, 
and from which these writers, in many cases, derived the very 
* See No. 15, note. 



24 



subject-matter and expression of their songs. 'Lord, make 
me safe,' prays the poet again and again, as he recalls the words 
of the Psalmist that formed a part of the sublime response, 
Peccantem me quotidie . . . Deus . . . salvum me fac. Not 
this response alone, but the entire Office of the Dead, partly in 
the various prayers and versicles, partly in the lessons from, 
the Book oj Job, has contributed largely to the penitential 
lyrics. 'Lord, despise nought f>e wark of fin handes,' be- 
seeches the poet, translating the response : Opera manuum 
tuarum, Domine, ne despicas. Or again he pleads, ''Damn not 
that ]>ou dere has bought," which inevitably suggests the promi- 
nent versicle : Nunc, Christe, te petimus miserere, qucesumus; 
qui venisti redimere perditos, noli damnare redemptos. The 
Hymn to the Virgin, No. 30, is a mosaic of phrases and ideas 
borrowed from the hymns, prayers, responses, versicles, 
lessons, and scripture found in the Eorae. 

Not only did the liturgy furnish most of the prominent and 
striking thoughts found in these poems, but it furnished in 
abundance the most commonplace expressions. The concep- 
tion, for instance, that Christ bought the world with his blood, 
shed upon the cross, is only one of many ideas that formed the 
body of the liturgy. From thence, where they were repeated 
daily and even hourly, these ideas were transferred to the lyrics, 
often with identity of language, and constantly used. 

Aside from these passages, which show much minute borrow- 
ing in thought and phrase from the services of the Church, the 
medieval poets seem to have taken from the liturgy certain 
pecuKar ways of looking at life. The custom of thinking of sin 
as a disease, of the sinner as a sufferer, and of Christ as the 
physician, found expression in the Gospels, and was often 
used in the liturgy, especially in the Mass, whence it was 
probably taken in most instances by the poet, rather than from 
any patristic source. The realistic manner in which death is 
always considered doubtless owes more to the lessons in the 
Offices of the Dead than to any other influence. 



25 

It has been assumed by many scholars that the Middle 
Enghsh religious hTic owes much to the Latin h}Tnn5 and to 
sacred Latin poetn'. Li the matter of metrical form such may 
be the case, but in content the English h-rics in this volume 
owe nothing to the sacred Latin l}Tic, and but little to the 
Latin h>Tnns. Xo. 30, as mentioned above, was indebted 
partly to Church h}Tnns. as well as to Kturgical prayers, re- 
sponses, and lessons ; there are also two translations of Latin 
h\Tnns in this collection. Only thus far are the h-rics here 
printed related to the h\Tnn5 of the Church ; and it should be 
pointed out that in Xo. 30 the parallels came directly from the 
ser\-ice5, for the poet knew his Horae most thoroughly, as 
passages taken from other parts of it show ; and that of the 
two translated h}TQns, both were necessar}' parts of almost 
every sen-ice. What influence the Latin h}Tnns had upon the 
content of these hTics came invariably through the Hturg}' ; 
so far as I can deter mi ne after a careful reading of the flfty-one 
volumes of the Analecta Jtymnica ^ and other collections of 
sacred Latin poetr}'. Latin h}Tnns and devotional Latin poetry 
had no appreciable influence upon the development of the 
Middle EngHsh rehgious h-ric. 

It was the liturg\' that generally suggested the sub- 
ject-matter of these poems. From it the writers took 
their words, their phrases, their sentences, their ideas — 
the ver}' content of their poems. It is not strange ; for, 
if out of the fullness of the heart the mouth speaketh, 
surely the thirteenth centux}' monks and clerks were amply 
justified in using the Hturg}' as their foundation ; indeed, 
they could not have done otherwise. The full indebtedness 
of these poems to the ser\-ice5 cannot be realized until a 
careful comparison between them and the Kturg}- has been 
made, phrase with phrase and thought with thought. It is 
only by detailed study that such influence can be shown ; its 

^ Dreves, Arudfcta kymnica medii aevi, Leipzig, 1886-1910, Vols. 1-51, 
in progress. 



26 

full extent is best seen in the many parallel passages cited in 
the notes. 

It has already been implied that the Middle English religious 
lyric is peculiarly free from all theological doctrines. The 
abstract and scholarly reasoning of Lanfranc and Anselm was 
far removed from the simple faith and humble devotion of the 
religious poets. Likewise, the intricate and over-subtle logic 
of medieval philosophers found no echo either in the lives or 
writings of these devoted clerks. Mysticism, as it developed 
under St. Bernard, was a protest and a reaction against scho- 
lasticism ; and these poems, which, as before stated, constitute 
one of the direct results of the mystic movement, are at all 
times conspicuously free from abstract theology. Even the 
more learned of the mystic writers seem to have had little 
influence ; Lanfranc, Anselm, and Hugo of St. Victor undoubt- 
edly affected a few of the earlier pieces in prose and verse,^ 
but their influence is not felt upon the lyrics here printed. 
The penitential lyric was extremely simple in every aspect ; its 
purpose was practical, and its methods direct. Even in the 
songs to Mary, where the missionary spirit is not so obvious, 
the writers show little sympathy with intricate and subtle 
logic ; mysticism was in the air, and mysticism, in its purpose 
at least, was plain, direct, fervent, — a matter of the heart, 
not of the intellect. The interesting question, Cur Deus homo, 
found little response in the imaginations of unlearned men, who 
accepted without hesitation the fundamental truth of Chris- 
tianity; for them the simple doctrines of the liturgy were 
enough, for in these, indeed, they found the words of life. 

But the Fathers were not always intricate and subtle in their 
writings. St. Anselm was truly regarded as an earnest and 
devout man. His prayers and meditations were filled with 
the noble sincerity of his life. Yet even his simple devotions 
do not seem to find a single echo in these lyrics ; though well 

^ Cf . W. Vollhardt, Einfliiss der Laieinischen Geistlichen Litteratur auf Einige 
Kleiner e Schopfungen der Englischen Ubergangsperiode, Leipzig, 1888. 



27 

known to priests in higher orders, they were evidently not so 
widely disseminated among the clerks and humbler servants 
of the Church. Although the higher clergy, less closely in 
touch with the common people, allowed themselves to refer 
to learned doctrines with which they were constantly familiar, 
and which their sophisticated readers would readily under- 
stand, they did not incorporate them in English poetry, for 
they composed in nothing less dignified than Latin or French. 
Robert Grosseteste wrote the allegorical Castle of Love in 
French verse, and even St. Edmund composed several poems 
in this language, though none in English. Most of the 
vernacular religious lyrics were written by friars and monks, 
who naturally used not only the material best suited to their 
practical needs and devotional purposes, but also that with 
which they were most familiar. It was left to them to express 
in plain yet attractive language the great truths of the Church. 
Of the two or three writers who affected in any way the 
content of the penitential lyric, St. Edmund, who has been 
mentioned already, had by far the most considerable influence. 
His earnest and unquestioned piety had been richly expressed 
in his Speculum Ecclesice. Edmund died in 1240, and was 
canonized in 1246.^ The Mirror became immediately popular, 
and was translated into French and English many times during 
the two succeeding centuries. There was hardly a monastery 
without a copy ; it was one of those books that precede pubHc 
thought. England was at that time approaching the full 
development of mysticism. St. Edmund's Mirror was just in 
advance of the age ; it was filled with a mystic fire and devo- 
tion that appealed to Richard Rolle and his followers, for in it 
they found many of their ideas. With the spread of mysticism 
the Speculum became almost a handbook of religious devotion, 
and as such it was often rendered into simple English prose for 
the use of the unlearned. 

1 There is no adequate modern life of St. Edmund. A good bibliographical 
account of the material extant is given in the Dictionary of National Biography. 



28 

There is no single writer who exercised such widespread 
influence upon the religious lyrics of England as did St. Ed- 
mund. No. 26, Do mercy to jore thi Jugement, probably is 
indebted to the Mirror for one entire stanza and for various 
other passages. No. 48 is a rendering of prayers found in 
the Speculum^ and a development of devotions suggested by 
the saint. Other poems show in slighter ways how greatly the 
Mirror had affected the religious thought and emotions of the 
English people. St. Edmund also wrote a poem in French 
verse that was admirably translated m An orisoun to or lord 
Ihesu, No. 23. 

One of St. Edmund's disciples was Richard Rolle. Two or 
three poems in this collection are almost certainly the work of 
Rolle ; in other lyrics there are a spirit and atmosphere that are 
peculiar to the later mystics. Undoubtedly Rolle and his 
followers influenced these poems more than can now be deter- 
mined. 

Philosophers did not always write beyond the comprehension 
of common men ; at times, like St. Anselm, they became ex- 
ceedingly simple in their devotions. St. Thomas of Aquinas 
was a man who added to a reputation for remarkable acuteness 
in reasoning and in making subtle deductions, a devout and 
humble mind. He composed several prayers in Latin, one of 
which, because of its expression of a complete and earnest con- 
secration, became immediately well known throughout the 
Church. It was translated and retranslated as a practical 
example of a fervent prayer. In its short Hnes and repeated 
grammatical constructions it easily lent itself to verse. No. 
49, an Orisoun to god, is a literal translation of this prayer in 
rhymed couplets. 

The influence of other mystic writers is seen in these poems 
only indirectly. Thoughts that ultimately originated with 
St. Bernard are found in the last poem in the volume, but it is 
altogether unlikely that the author of this lyric had ever read 
the saint's mystic sermons. Some of St. Bernard's ideas be- 



29 

came immediately popular in France, and were reiterated by 
French religious poets, from whom, in all probability, the few 

and shght parallels were drawn. 

The ettect of the Enghsh sermons does not seem to have been 
widespread. The Poema Morak, a sermon couched in h-ric 
verse, had decided influence upon one lyric, No. 7, A Prayer 
to our Lady. Other poems show traces of the sermons, but in 
no case do they exhibit any e\-ident connection with homilies at 
present pubUshed. The ioJiuence of sermons upon such Ivtics 
as Xo. 6. / unte my self myne oume iivo, is certainly greater than 
at present can be proved. 

Such in general was the effect of patristic writings upon the 
^Middle Enghsh hTic. The works by which the Fathers earned 
their scholarly reputations, and by which they influenced and 
even regulated the lines of theological thought, were unknown 
to the writers of simple, vernacular verse : it was not until a 
work had proved of practical help, and had been often trans- 
lated, that it found its way into the Enghsh KtIcs. 

IV 

The French influence found in these poems is derived mainly 
from the \ydc poetr}' of Northern France. The t^-pe which 
seems to have affected most directly the Enghsh reHgious hTic 
is that simple love-song, the chanson d' amour, which flourished 
in the thirteenth centuiy and before. This love-hTic consists 
rarely of more than nve stanzas,^ and often of less, with the 
rh\-mes occurring regularly, but with the stanzas not neces- 
sarily of the same length, a short verse being often used after 
one, two, or more long lines. 

In content the chanson d'amour is well defined. For an 
introduction it seems to have employed almost invariably one 

* Cf. P. Paris in Hist. Litt., XX. 613 : La chanson est un poeme ordinairement 
compose de cinq couplets uniformes, destines a etre chantes sur une modulation 
adaptee a I'expression et a la mesure du premier de ces couplets. 



30 

of two conventions. Most frequently the poet, starting with a 
nature setting, tells how the fresh woods and flowers turn his 
thought to a lady 'feir and fre,' or the autumn leaves in 
fading remind him of his grief — a grief, however, tres douce} 
Sometimes he omits all formal setting, and breaks out at once 
into praise for his lady in honor of whom he is unable to refrain 
from song. 

Canteir m'estuet por la plux belle, 

ke soit ou monde vivant, 
car s'amor m'est tons dis novelle, 

si en ai le cuor plux ioiant.^ 

The emotion of the poem, which is developed in a fairly con- 
ventional fashion, is uniformly that of a longing love. The first 
duty of the poet is to celebrate the charms of the beloved one. 
So he sings of her beauty and tells how 

cors ait bien fait et avenant, 

euls vairs rians, 
bouchete tainte en grainne.^ 

She is dame sens peir, en la millor del roiame de France,^ a 
countess, a queen. Her beauty inspires his love and devotion 
at the same time that her dignified aloofness causes his grief. 
Indeed, his sorrow, usually barely mentioned in the beginning 
of the poem, in the end occupies nearly all his thought, as he 
closes with an appeal for mercy : — 

n'en ait mercit ne pities ne Ten prent, 
morir m'estuet amerous en chantant.^ 

Because of the intimate relation which exists between this 
type of French secular lyric and several of the poems in this 
volume, it will be useful for the purposes of a closer comparison 

1 Bern MS. 389, No. CCLIII, Archiv., 42. ^ /^jj. ^o. LXXXVII. 

3 Bern MS. 389, No. XCI. ^ Ibid. No. CCLXXIV. ^ Ibid. No. CCL. 



31 

to give a characteristic specimen of this very popular kind of 
love poetry. One Gatier de Bregi sang thus of his love : — 

Cant voi la flour et I'erbe vert pailie, 
moi stuet chanteir por ma dolor covrir ; 
car autrement ne puis avoir aie 
de celle riens cui i'ain tant et desire ; 
s'en crien morir, tant redout lou faillir, 
et losengiers, cui ie tant doi hair, 
quierent ma mort ne s'en pueent tenir. 

En loiaulteit ai ma dame servie 
come la riens cui tant ain et desir, 
ne d'autre amor ne quier avoir amie. 
Portant serai dou tout a son plaisir. 
De mal sosfrir ne me doit sovenir, 
car li grans biens ou ie cuis avenir 
me fait mon cuer en ioie maintenir. 

Jai fine amour ne me poroit retraire 

k'envers ma dame aie mil ior fauceit, 

ains I'amerai, car elle est debonaire. 

En li ai mis cuer et cors et penseir. 

Moult m'ont mi eul riche tressor moustreit, — 

son tres gent cors sa bouche et sa biaulteit, 

ke moult m'ait mort en mon bien destineit. 

Ses simples vis rians et debonaires 

et ses gens cors ou il ait tant biaulteit 

m'ont si sospris ke ne m'en puis retraire, 

n'en tout Ie (Ie) mont ne m'en vient plux engreit. 

Tuit autre amant sont plux de moy greuei, 

quant a ma dame cui ieu ain vient en greit. 

Douce dame, prous et cortose et saige, 
aies pitie de vostre amin chier ! 
Per maintes fois vos ai dit mon couraige. 
Saichies de voir, loiaulment sens trichier, 
vos amerai, c'autre desduit ne quier. 
Se biauls servirs peust nul home aidier 
bien me deust ma dolour aligier. 



32 

Several of the Middle EngKsh religious lyrics have very 
obvious relations with the large class of French poems of which 
the above song is a fair specimen. 

In general form many of the EngHsh poems are modeled 
directly after the French. No. 31, An Orisoun to our Lady, 
has in its meter and rhyme scheme been influenced by French 
lyrics. It has the typical five stanzas, and, Uke most of the 
French love songs of the class mentioned, has no refrain. 
No. 33 in form as well as in content suggests the chanson. 
The insertion of short lines and the arrangement of rhymes 
remind one of the French songs. No. 27 likewise takes the 
form of the French lyric. Finally No. 29 gives indications of a 
foreign connection in its length and in the tendency that it 
shows toward identical rhymes in its scheme, aaaa abab, and 
in the actual development of such rhymes in the third and 
fourth stanzas. 

In this connection should be mentioned certain stylistic 
tricks that seem to have been imitated directly from the 
chansons. A favorite method of development with the chan- 
sonniers, and from them adopted by the EngHsh poets, was that 
of linking stanzas by converting the last verse of one stanza 
into the first of the next, sometimes transferring the line entire, 
sometimes taking only a prominent word or two, but retaining 
the thought. Many examples of its use can be found in these 
poems. In some cases, as in the poem whose first two stanzas 
are linked thus, 

leuedi, her mi bon. 

Mi bon fu her, leuedi der,^ 

it has been employed consistently and with good effect. 

The abundant use of interjections, which is characteristic 
of the French songs, is also apparent in these poems. Expres- 
sions such as Alas! welawei! par dee! and many others, espe- 
cially when used in songs that have other strong signs of 

^ No. 29. 



33 



French influence, suggest that medieval poets were often quite 
as much influenced by pernicious tricks of style as inspired by 
sheer poetic beauty. The French poet knew other ways of 
getting out of the difficulty presented by an empty half line, 
as is seen in the chansons, where conventional phrases, such as 
jor et nuit, become a welcome substitute for vacuity. When the 
first Middle Enghsh poets learned from their French neighbors 
the form and beauty of songs of love, they did not forget to 
learn also the secrets of the profession of love-singing. Min 
hope is in ]>e, da} &" nicht, declares the English poet following 
closely the example found in France. 

In content, however, the resemblance of the Enghsh religious 
lyric to its French models is even more marked than in matters 
of mere external form. The setting employed in several of the 
Enghsh poems has been taken directly from a French source, 
or has at least been influenced greatly by French songs. 
Thus Gatier de Bregi and a hundred others begin their lyrics 

with 

Cant voi la flour et I'erbe vert paihe, 

or similar nature settings, so the Enghsh poet sings, 

Nou skrinke)) rose & lylie flour, 
pat whilen ber f>at swete savour, 
in somer, fat suete tyde ; ^ 

and another French poet begins, 

De iolit cuer enamoreit 
chansonete comencerai,^ 

so the unknown Enghsh poet declares : 

Of pe, swete levedy, my song y wile byginne.^ 

But the influence of the French song writers extends far 
beyond mere settings, for in many cases it permeates the entire 

1 No. 33. 2 Bern MS. 389, CXXXIV, Archiv, 42-278. 

' No. 65. MS. Harl. 2253. 



34 

emotion of the poem. The attitude of the English poet as he 
sings his love for Mary, who he remembers is now a 'peirles 
maide,' is not vastly different from that of the French writer 
who saw and celebrated charms more real to a worldly lover. 
Thus the English poet, unconsciously hoping to find in divine 
love a recompense for the deprivation which his religious devo- 
tion had cost him, easily substituted the Virgin for the ' douce 
dame ' of the secular French writer and as duly celebrated her 
excellencies. 

^ No. 30 shows how intimately this spirit of the French secular 
songs had entered the EngUsh reHgious lyric. The poet's 
admiration for Mary's physical beauty is unbounded; he 
assures her that she is 'ful of fewes hende,' and in her graceful 
and courtly bearing she is a ' maide drei^ & wel itaucht ; ' in 
every charm, indeed, she is all-surpassing, for there is ' non swo 
swete of alle f>ing ' nor 

, ;^ nis non maide of fine heowe, 

swo fair, so sschene, so rudi, swo bricht. 

Like the poet of worldly love, the English singer forgets not 
that his loved one has high rank, even royal, and he fittingly 
celebrates this distinguishing excellence : — 

fu ert icumen of he^e kunne, 
of dauid fe riche king, 
nis non maiden under sunne 
fe mei beo })in euening. 

Such high Hneage, accompanied with all peerless charms, 
physical and moral, demands complete and constant devotion ; 
so, like Gatier and all true lovers, while praying his lady for 
mercy, he vows that he is her faithful knight, ever at her 
service : — 

Ic crie fe merci : ic am fi mon, 

bo))e to honde & to fote 

On alle wise fat ic kon. 



35 

The English poet, then, in uttering his cries for mercy has not 
prostrated himself before Mary of the liturgy, 'moost pitieous 
of alle pitieous wymmen ' ; nor is he altogether orthodox, one is 
forced to believe, for in his prayer he utters no irresistible plea 
for effective intermediation; he seems to have overlooked 
Mary's peculiar office. It is a return of affection for which he 
longs, while in his heart lie the pleading words of another 
nameless poet, 'Yif me pi love, ic am redi.' So the attitude 
of the lady of the French songs, always marked by dignity, 
aloofness, and a certain hauteur, is assumed by the EngHsh 
poet to be characteristic of Mary ; and the constant appeal of 
the French lover, 

Douce dame, prous et cortose et saige, 
aies pitie de vostre amin cher, 

finds its counterpart in the prayer of the EngHsh religious poet, 

Swete leudi, of me fu reowe 
& haue merci of fin knicht. 

Likewise the poet of 'No. 64 evidently knew the spirit and 
conventions of the French song- writers. Aside from the short- 
ness of the poem and other characteristics of form that point 
to a French influence, its emotional nature suggests that the 
ideas and experiences of worldly love as expressed in the 
chansons of France were known in England. 

Moder milde, fiur of alle, 
J)u ert leuedi swufe treowe ; 
bricht in bure & eke in halle, 
fi loue is euer iUche neowe. 

The poet remembers the surpassing distinction of his lady, for 
she is a 

Riche queue and maiden bricht ; 

and he does not forget to plead for himself in the simple words, 
swete leuedi, of me ]>u reowe. 



36 



But the similarity of emotion between this poem and the 
chansons is not so close as in No. 30, for the poet apparently 
does not forget that it is Mary's protection in this world and 
her aid in the next that he most anxiously desires. 

As pointed out previously, No. 31 had been influenced in its 
external form by the chanson d^ amour ; but in content, the 
poem does not afford many lines that prove a close relation- 
ship with French lyrics. The attitude of the poet toward 
Mary, although it is in many respects as orthodox as that of 
the liturgy, is not entirely so, for the spirit that pervades the 
poem as a whole is often suggestive of an earthly love. Like 
the French lover, the poet mentions in his first lines the sub- 
ject of his song, 

On hire is al mi lif ilong. 
Of hwam ich wule singe ; 

and, though he has profited apparently by the sermon in the 
Poema Morale,^ for he has a wholesome fear of sin and a con- 
sciousness of his own waywardness, he does not forget that 
Mary is the one 'fat is so freo,' and to her he cries, 'Leuedi, 
merci ! ' 

Other songs in this volume show in a less uniform way traces 
of the influence of the general class of French lyrics that is 
richly represented in the Bern and Douce MSS. Thus, Mary's 
charms are frequently insisted upon ; like the earthly fair one, 
she has un vis cleir ; she is the 'feirest flour of eni felde,' and 
* a rose in eerbir so red ' ; her eyes are gray, and her body full 
of grace and courtly freedom. 

Ladi louelich, feir and fre, 

pou lilye whyt of face, 
Godus Moder briht of ble. 

We tristen to ]>\ grace. 

^ No. 31 has one line that is exactly paralleled in the Poema Morale ; and there 
are other evidences of such influence. Cf. the note on p. 17. 



37 

Since a lady possessing such charms must needs have a host of 
admiring friends, the French poet does not hesitate to mention 
this popularity. The same theme is even more aptly cele- 
brated in regard to Mary. Many are the poets that rejoice 
in the honor that ^our lady' commands in the earth, for 
verily, 'f>i worschipe walkef> wyde.' 

Such beauty, honor, and high birth demand vows of 
complete devotion and constant service. As the French lover 
offers himself to his lady and becomes her knight,^ so the 
English religious poet, as instanced above, binds himself to 
the service of the Virgin and declares : — 

Serwte and serwise we owe, parde, 
To thi hi^nesse of very due, 

As royall most by pedigre. 

None lyke of grace ne of vertu, 
Lovely lady, f>i servauntis trew.^ 

Before the chanson d'amour became in France the rul- 
ing form for the expression of subjective emotion, a pecuhar 
kind of lyric poetry had flourished there, the chanson a per- 
sonnages. These chansons are always narrative in form, with 
strangely combined lyric and dramatic tendencies. In the 
simplest and most typical form of this poem the writer tells 
as an introduction how the other day, Vautrier, wandering 
through a forest, by chance he overheard a woman complaining 
of her jealous husband ; he then proceeds to give the words of 
the unfortunate wife. In later poems the laments are some- 
times assigned to a maiden who complains of unrequited love ; 
after this the next logical step is to report in other poems the 

^ There is an interesting manuscript described in the Cat. de Manuscrits du 
Fold Franqais, p. 316, which contains a collection of the Miracles of the Virgin. 
One of the rubrics tells 'D'un chevalier qui ne vouloit avoir aultre femme fors 
que la virge Marie.' 

2 No. 69. Such examples have sometimes been referred to by English critics 
as showing the influence of chivalry, and so they do, but undoubtly it is the 
influence of chivalry upon French poetry. 



38 

griefs of a lover.^ The essential characteristic, then, of this 
class of poetry is that the poem is almost entirely a complaint, 
usually of a woman, with an introduction in which the narrator 
explains how, he happened to hear about the sorrows which he 
reports. 

There is little variation in the introductions which these 
poets allow themselves. The following is typical : — 

L'autrier lone un bosc fulhos 

Trobiey en ma via 
Un pastre mout angoyssos, 

Chanteir, e dizia 

Sa chanson : . . . ^ 

The chanson a personnages seems to have died out in France 
a century before its influence was felt greatly in England, for 
it was not until well into the fifteenth century that poems 
imitated from this type became popular, when the rehgious 
poets were evidently among the first to make extensive use of 
it. Often they put the words into the mouth of the Virgin, 
lamenting the death of Christ. 

A rather late poem. No. 5, shows how the chanson a per- 
sonnages was easily adapted to rehgious uses. 

As I wandrede her bi weste, 

ffaste vnder a forest syde, 
I sei^ a wiht went him to reste, 

Vnder a bou>h he gon a-byde ; 

pus to crist ful ^eor[n]e he cri^ede, 
And bofe his hondes he held on hei> : 

Then follows the complaint of a penitent, who rehearses his 
sins in detail. 

1 For other types of the chanson d personnages, see G. Paris, Les Origines, etc. 
681 ff. 

2 Raynouard, 11, 230. The poem quoted from is, of course, the song of a 
troubadour. 



39 

As mentioned above, the chanson a personnages assumed va- 
rious forms. In one of these it is the lover himself that com- 
plains of unrequited love. The introduction in this class of 
poems, though of necessity somewhat changed from that of the 
earlier complaint form, was an adaptation of the Uautrier 
formula. 

Two of the poems of Harleian MS. 2253 help to prove the 
assertion that the ^chanson a personnages must have been 
taken over into EngUsh at the time when it flourished in 
France.' ^ One of these lyrics begins : — 

pis enderday in o morewenyng, 
wif> dreri herte ant gret mouryng 

on mi folic y fohte ; 
one fat is so suete a f>ing 
fat ber iesse, fe heuene king, 

merci y besohte.^ 

The second poem is very similar in its setting : — 

from petres bourh in o morewenyng 
as y me wende omy pley yng, 

on me folic y fohte ; 
menen y gon my mournyng 
To hire f>at ber f>e heuene kyng. 

Of merci hire bysohte.^ 

In a more general way the first stanza of No. 50 recalls the 
setting of many French secular poems, not necessarily chansons. 

In Somer bi-fore fe Ascenciun 

At Euensong on a Sonundai 
Dwellyng in my deuocioun 

ffor fe pees fast gon I prai : 

I herde a Reson to my pai, 

^ Padelford, Early Sixteenth Lyrics, p. xxxviii. The date of the Harleian MS. 
is the early fourteenth century. 2 -^q 27. 3 ^q ^3. 



40 

pat writen was with wordes fre, 
And fus hit is, schortly to say : 
Mane nohiscum domine. 

The mention of the season, of the day with the time and atten- 
dant circumstances, and of the answer 'writen with wordes 
f>re,' all indicate the ultimate influence of French poems, 
though it would be rash to say that the lyric quoted owes 
much directly to any French form. This kind of introduction 
became extremely popular in England in all classes of poetry ; 
it is probable that the above stanza owes more to English 
than to French models. 

The influence of the French religious lyric is neither easily 
nor satisfactorily determinable. The religious song in France 
dates back almost as far as does the secular lyric itself. Wace 
relates that in the eleventh century the Virgin Mary appeared 
before certain sailors, and saving them from a violent storm, 
gave explicit directions for the founding of the Feast of the 
Conception at Caen. Considerably later, similar /e/e^ in honor 
of the Virgin were established at Rouen, Dieppe, Arras, Valen- 
ciennes, and other places, until by the fifteenth century there 
had sprung up, all over France, societies that sought to honor 
the Mother of God by contesting in song. We do not know 
at what time the composition of poems became the chief 
characteristic of these fetes. In 1325 such a contest took 
place, but it is almost certain that long before that date there 
had been many hymns sung to the Virgin on these occasions. 
However this may be, during the fourteenth and fifteenth 
centuries there grew up in France a class of religious poetry 
connected exclusively with these feasts. 

The rules of different puys, as these partly literary, partly 
religious, societies were called, varied somewhat; but in 
general, so far as we can judge, the procedure followed fairly 
uniform lines. The puys usually lasted about ten days, each 
day being given up to composing and reciting hymns, or 



41 

serventois, in honor of the Virgin. The poems were usually 
strained and artificial. The form of the serventois early be- 
came conventionalized. There were normally three stanzas 
of eleven lines each and an envoy of four or five lines, in which 
the presiding officer and judge, the * Prince,' was addressed. 
There was also a refrain and other technical requirements into 
which it is not necessary to enter here. 

Starting with these serventois, or at least greatly influenced 
by them, the practice of singing songs to Mary soon spread to 
all parts of France, and affected nearly all kinds of lyric poetry. 
The serventois became extended in its scope and seems to have 
included almost any song to the Virgin.^ 

Divine poems took also other forms and names ; so we find 
Jean Molinet declaring: 'Autre couleur de rhethorique nom- 
mee simple lay est assez usite en oroisons, requestes et loenges.' ^ 
He then gives an example of a lai that is indeed sufficiently 
removed from the form of the serventois. 

Out of the secular chanson d^amour there grew another class 
of rehgious lyrics, which was related neither to the formal 
serventois nor to the lai; it was rather an adaptation of the 
chanson itself for refigious purposes. Thus in the Bern MS. 
we find several chansons de nostre dame that employ the same 
general form and the same phraseology as the secular lyrics 
in the same volume. Gautier de Coinci, also, used several 
chansons d^ amour as models for his songs to Mary, in some cases 
employing even the rhymes that his predecessors had used. 
Not only were chansons d^amour turned to religious uses, but 
almost every other type of the secular lyric was made over to 
fit the exigencies of rehgious verse.^ 

1 The term was also employed for a kind of satirical song, a use which of course 
does not concern us here. 

2 Langlois, Recueil, p. 241. 

^ On rehgious imitations in French poetry, see P. Meyer in Romania, XVII, 
429-437; ibid., Romania, XIX, 297-299; Jeanroy, Romania, XVIII, 477-486; 
Bulletin soc. anc. textes Fran. 1886, pp. 70 ff.; cf. also Novsiti, Studii Critica, 
pp. 179-310- 



42 



The influence that the French reHgious lyric, in its various 
forms and during its long development, exerted upon the 
poems in this volume seems to have been remarkably slight. 
The formal serventois with its set form and Kterary flavor was 
quite beyond the Middle EngHsh poet. Evidently it did not 
greatly appeal to his naive taste. Still, there are hints that 
this kind of lyric, though unattempted in England, was not 
unknown there. No. 5, which in its introduction shows so 
clearly the influence of the chanson a personnages, indicates 
in other ways that its author was something of a literary 
artist and one who knew a little of foreign conventions, al- 
though he chose to throw all these marks of Hterary acquire- 
ment confusedly into one poem rather than to follow any one 
form consistently. The use of a refrain is doubtless French, 
and may well come from the serventois, in which, so far as I am 
aware, it was never lacking. It should be mentioned here, 
however, that the serventois is almost identical in form with 
many of the French ballades. Since the conventions of these 
two classes of poetry are largely the same, it is impossible to 
say which type the poet is trying to imitate. More striking 
than the use of a refrain, which may have come from any one 
of several sources, is the manner in which in the last stanza the 
poet, dropping the complaint form, substitutes his own words ; 
thus in a way he secures a kind of envoy, which he carries out 
further by suddenly addressing Christ, caUing Him the ' Prince 
of alle pite ' just as the poet of the puys exclaimed in his evoi : — 

Prince d'amours, noble fu la maistrie. 
Quant sanz charnel meffait fist son cher filz, 
Amant parfait, homme en dame infinie 
Dont amans sont par grace resjois.^ 

Other poems in this collection have refrains that suggest a 
more or less intimate relation with French lyric poetry of the 

^ Serventois couronne in Miracles de Nostre Dame, Soc. des anc. textes Fran., 
4, pt. iii, 237. 



43 

ballade type, but it may be safely said, as a result of actual 
comparison of the two, that the formal serventois found hardly 
an echo in the religious poetry of England. As for the lais 
that Mohnet mentions, it is probable that they also were with- 
out influence, though it is somewhat hasty to speak definitely 
while so many French poems remain in manuscript. 

Concerning the influence of the French religious imitation 
of the chanson d^ amour it is even more difficult to decide. Like 
the English songs to Mary, these French parodies took over 
to their use external form, phraseology, and to some extent 
emotional qualities that had previously belonged to the sec\ilar 
lyric ; but in doing this they differed from the English lyrics 
in several respects. 

The French chanson poets, when they turned to writing 
religious verse, had had a long training in the art of writing. 
It seems to have been the usual procedure for a poet to devote 
himself in his youth to composing spirited secular poetry in 
which he spent his strength in celebrating the charms of a 
worldly love. It was not until he felt his powers waning, and 
fear seized upon his soul, that he turned to Mary, of whose 
efficacious aid he now stood in dire need, but of w^hose graces 
he was no longer in a mood to sing spontaneously and well. 
Consequently we are not surprised to find in these religious 
chansons a spirit of literary art, a feeling for convention, and an 
artificiality that is far removed not only from the simplicity 
of the English songs, but also from the superb emotional ex- 
pression of the French secular lyrics. The French religious 
chanson, building upon a form that was already becoming worn 
out, lacks in general the outspoken enthusiasm that charac- 
terized the English poems. 

It is not possible to prove conclusively that the religious 
imitation of the chanson exerted Kttle influence in England. 
Still, it is evident that the impassioned songs of Gautier de 
Coinci, though often modeled after the secular chanson d' amour, 
did not affect English poetry, for his tricks of style, which are 



44 



very marked, are not repeated in these lyrics. It is equally 
evident that the colorless religious song like the following, often 
found in the Bern MS. and elsewhere, was not widely sung in 
England : — 

De la meire Deu doit chanteir 
chascuns ki seit faire chanson 
k'anemins ne puet enchanteir. 

Another fact that must be borne in mind is, that in France 
the religious chanson was not so popular as other forms of 
religious verse. Most of the rehgious poets preferred the 
conventional serventois as a form in which to express love for 
Mary. 

It may be that now and then the English poet translated 
from some religious French poem, but on the whole the lyrics 
of this collection showing the influence of the chanson breathe a 
spirit of sincerity and a freedom from restraint and literary 
convention which forbid our thinking that they can be an 
imitation of an imitation, or indeed an imitation at all; for 
the EngHsh poet, working out his own bent, has in no case pro- 
duced a thoroughly t>^ical chanson either in form or spirit. 

In the fourteenth century and before, there also flourished in 
France another kind of religious poetry. In style this was 
very ornate ; it employed long words, and delighted especially 
in placing an adjective of many syllables in the rhyme; it 
abounded in allusions and in all kinds of ornaments and em- 
bellishments. A single line will illustrate admirably the nature 
of these lyrics : — 

O femme resplendissans, roTne glorieuse ! ^ 

This literary affectation soon spread to England. Chaucer in 
translating his ABC poem from De Guileville's PeUrinage de la 
vie humaine, managed to preserve the spirit and manner of the 
original, thereby inaugurating a new school of English lyric 

^ Cat. Gen. des MS. des Bib. Publ., 17-22. 



45 

poetry. He was followed by Gower, Occleve, Lydgate, and 
some anonymous poets. The influence is felt in only one of 
these poems — the Hyfnn to the Virgin, No. 69, the thought 
and diction of which are sufficiently ornate to prove a connec- 
tion with this class of poetry. 

The influence of French upon the Middle English peniten- 
tial lyric, then, comprises that derived, first, from the secular, 
and secondly, from the religious, lyric. The chanson d'' amour 
exerted the greatest influence upon Middle English lyric 
verse. Many of the poems in this volume are modeled di- 
rectly after the chansons in both form and content. The 
chanson a personnages, likewise, affected the English lyrics, 
particularly in their external form. The religious poetry 
of France, however, found hardly an echo in English lyric 
verse, for its conventional and highly literary character did 
not appeal to the unsophisticated poets of England. 



MIDDLE ENGLISH PENITENTIAL 
LYRICS 

A GENERAL CONFESSION 

1. (A I a i) Brit. Mus. Royal MS. 17 B. XVII. fol. 4. 

I know [to Go]d, ful of myght, 
& [to his] modir mayden bright, 

& [to alle h]alouse here, 
& [to f e, fa]dre gastly, 
fat I [have sjynned largely, s 

In mony synnes sere : 
In thoght, in speche, & in delite, 
In worde, & werk I am to wite 

and worth to blame ; 
))er-fore I praie saynt mary 10 

and alle halouse haly, 

In gods name, 
and po preste to praye for me, 
f>at god haue merci & pyte, 

for his manhede, * 15 

of my wreched s^mfulnes, 
& gyue me grace & forgyuenes 

of my mys-dede. 

A FORM OF CONFESSION 

2. (A I a 2) Vernon MS. 

I was vn-kuynde, 
And was ))enmie blynde. 
To worche a^eynes his wille, 
47 



48 

fat furst me wrou^t, 
And seffe me bou^t, 

Fro peynes he was put to ille ; 
fer-fore we pray 
To f e to-day, 

fat knowes bof e good and ille, 
Graunt vs lyue, 
We may vs schriue, 

Vr penaunce to folfille. 



GENERAL CONFESSION OF SINS 

3. (A I b i) Rawlinson MS. B. 408. 

I knowlech to god, with veray contricon, 
Vn-to seynt mary, and his se3aitis alle, 
pat, forgh my frealte and wrecchid condicion, 
In-to many synnes of te haue I falle ; 
But aftir mercy now wille I calle, S 

With true confession, repentaunce, 
(God graunt me space), and due penaunce. 

First : I knowlech fat I haue broken 

His X. commaundementis in many a place. 
In werke, in worde, in fought, in token ; 10 

And ofte be vnkynd vn-to his grace ; 
Sweryng by his body, or by his face, 
Taken in ydul his blessid holy name : 
Wherfore y knowlech me gretely to blame. 

I haue not loued hym and dred as I shuld, 15 

Neither serued hym in kepyng myne holyday ; 

But rather to playes & lapes y wolde. 
Then to serue god, rede, syng, or pray. 
Al f e circumstaunce y can not say, 



49 

So synful y am and so vns table, 20 

For my defautes ben innumerable. 

My fader and moder I haue not obeyed, 

As y shuld haue done, with helpe or mekenesse, 
The balance of vertues I haue mysweyed, 

With sleyng of tonge, or with wilfulnesse, 25 

With lechory, or with fefte, or fals witnesse, 
Couetyng wykkydly man or mannes wyfe 
, And opev gode fat longed to per lyfe. 

The seuen dedely synnes I can not excuse : 

For I am gylty, in many maner wyse, 30 

With delectacyon, consente, and vse ; 
Al now to reherce I may not suffyse ; 
In Pryde, Envye, wrath, Lechory, & couetyse, 
Sleuth, and Glotony, with al f>er spices. 
Alas ! al my life is ful of vices ! 35 

And my fyue wyttes I haue of te myspend ; 

To many vanytes castyng my syght, 
And with my heeryng ful ofte y offend ; 

My smellyng, my tastyng, I spend not ryght, 
My handes to synne haue ben ful light. 40 

Thus haue I gouerned my wittes fyve. 
And in synne mispended al my lyve. 

The werkes of mercy I haue not fulfilled, 

Af tir my power, as ofte as I myght : 
To helpe pe pore I was not beste willed, 45 

With mete and drynke and closing pern dyght, 
>euyng no herborogh a-dayes or nyght, 

Helpyng no prisoners, ne vysyting pe seeke ; 
To bery pe dede I was not meke. 



50 

The gostely werkes y haue lef te also : 50 

To councel and teche fern fat were lewde, 
Geuyng no comfort in socour and wo, 
Neyther to chaste such as were shrewde, 
And so per harmes not sore me rewed, 
Neyther for>euyng with true pacience, 55 

Or prayed for f>em f)at dide me offence. 

I haue not reuerensed fe seuen sacramentes 

pat ben ordenyd for my saluacion, 
But of sore synned f>at me repentes 

Af tir my baptym and confirmacion ; 60 

My orders or wedlok standith in accusacion. 
God graunt me penawnce, and holy brede, 
And holy anoyntyng, or I be dede. 

Al J)is I knowlech in general, 

Of synnes doyng, and leuyng good werkes. 65 

^if I shulde nombre fe branches especial, 
I shulde occupy to wryte fer-of many clerkes. 
With synful lyfe my sowle derkes 

That I can not see and lasse my defautes, 

And euer my enemyes maketh many sautes. 70 

Now light me, holygost ! with ]n presence ; 

And ^eue grace my lyfe to amende, 
With drede, and pyte, and trew science, 
With gostely strength to make a good ende. 
Thy gracyous councel to me now sende, 75 

With such vnderstondyng, and clere wisdome, 
That y may come to )>i kyngdome. 

A CONFESSIOUN TO IHESU CRIST 

4. (A I b 2) Vernon MS. 

Swete Ihesu crist, to fe 

A gulti wrecche Ich ^elde me 



51 



ffor sunnes fat ichaue ido 

In al my lyf hider-to. 

In Pruide, in Envye, In lecherye, 5 

In Sleufe, In Wrappe, in Glotenye, 

In al pis worldus Couetyse, 

Ichaue isunged In alle pyse. 

I-broken Ichaue pi Comaundemens 

A^eynes myn owne Conciens, lo 

And not iserued pe to queme : 

Lord Merci, ar pe dom is deme. 

To ofte ichaue in my lyue 

Isunged in my wittes fyue, 

Wip Eres I-herd, wip Ei^en siht, 15 

Wip sunful speche day and niht, 

Wip Honden I-hondlet, wip feet I-go, 

Wip Neose i-smullet eft also, 

Wip herte sunfulliche I-pouht, 

Wip al my bodi vuel I-wrouht : 20 

And of alle my folye 

Merci, lord Ihesu, Ich crye. 

Al-pauh ichaue i-sunged euere. 

Lord, i ne forsok pe neuere, 

Ne opur god ne tok i none, 25 

ffadur of heuene, but pe one. 

And perfore, lord, i pe biseche 

Wip rihtful hertliche speche, 

Ne )if pou me none mede 

Aftur my sunfule dede. 30 

But aftur, lord, pi grete pite 

Ihesu lord, asoyle pou me. 

And send me ofte, ar I dye, 

Serw^e in herte, and ter in ei>e, 

ffor sunnes pat ichaue i-do 35 



52 



In al my lyf hider-to. 

And let me neuere eft biginne 

To do no more dedly synne, 

So fat I at myn endyng-day 

Clene of synne dye may, 40 

Wi)) Schrift and Hosul at myn ende ; 

So ))at my soule mowe wende 

In to fat blisful Empyre 

per fat f ou regnest lord and sire. 

Swete ladi seinte Marie, 45 

fful of AUe Curtesie, 

Modur of Merci and of pite, 

Myn hope, myn help is al in f e. 

Wei ich wot, ibore fou were 

In help of al vs wrecches here ; 50 

And wel ich wot fat alle f ing 

pi sone wol don at f i biddyng. 

Bi-sech f i sone lef and dere 

ffor me synful wrecche here ; 

Bi-seche him, for f e loue of f e 55 

pat he haue merci of me ; 

And help me at myn ende-day 

ffrom f e foule fendes afifray. 

Bi-seche also f e flour of alle, 

pi sone, for my frendes alle, 60 

pat he hem kepe wif his grace 

ffrom alle perels in vche place, 

And ^ef hem god lyf and god ende, 

And loye whon f ei schul hef ene wende ; 

And also alle cristene men. 65 

God lord Ihesus, Amen, Amen. 

Seint Michel and seint Gabriel 
And alle f e Angeles also wel : 



53 

Preyej? for me to vre ladi, 

pat Ihesus of me haue merci. 70 

Holi Patriarkes and prophetes, 
Alle i preye ow and bi-seches : 
Preyef) for me to vre ladi, 
pat Ihesus of me haue merci. 

Peter and Poul, Ipe Apostles alle, 75 

Alle i beo-seche ou ^erne and calle : 
Preyef) for me to vre ladi, 
pat Ihesus of me haue merci. 

Seint Steuene and seint Laurens 

And alle gode Martires }>at }>oleden turmens : 80 

Preyef for me to vre ladi, 

pat Ihesus of me haue Merci. 

Seint Martin and seint Nicholas 

And alle gode conf essours ))at euer was : 

Preyef for me to vre ladi, 85 

pat Ihesus of me haue merci. 

Seinte Katerine and seinte Mergrete 

And alle fe virgines gode and swete : 

Preyef) for me to vre ladi, 

pat Ihesus of me haue merci. 90 

Seinte Marie Maudeleyne, 
To f>e I pre^e and eke pleyne : 
Preyef for me to vre ladi, 
pat Ihesus of me haue merci. 

Alle Halewen fat euere were, 95 

pat beof crist lef and dere : 
Preyef for me to vre ladi, 
pat Ihesus of me haue merci. 



54 



AS I WANDREDE HER BI WESTE 

5. (A II i) Vernon MS. 

As I wandrede her bi weste, 
ffaste vnder a forest syde, 
I sei^ a wiht went him to reste, 
Vnder a bou^h he gon a-byde ; 
pus to crist ful )eor[n]e he cri^ede, 5 

And hope his hondes he held on hei^ 
" Of pouert, plesaunce & eke of pruide, 
Ay, Merci, God, And graunt Merci. 

God, pat I haue I-greuet pe 

In wille & werk, in word and dede, 10 

Almihti lord, haue Merci of me, 

pat for my sunnes f>i blod gon schede ! 
Of wit & worschupe, weole & wede 

I ponke fe, lord, ful Inwardly ; 
Al in fis world, hou euere I spede, 15 

Ay, Merci, god, And graunt Merci. 

Graunt Merci, god, of al f)i ^ifte. 

Of wit & worschupe, weole & wo ; 
In to fe, lord, myn herte I hfte. 

Let neuer my dedes twynne vs a-two. 20 

Merci fat I haue mis do. 

And sle me nou^t sodeynly ! 
pou^ ffortune wolde be frend or fo, 
Ay, Merci, God, And graunt Merci. 

I am vnkuynde, and fat I knowe, . 25 

And fou hast kud me gret kuyndenes ; 

perfore wif humbel herte and lowe, 
Merci and for-^iuenes 



55 



Of Pruyde and of vnboxumnes ! 

What eueri sonde be, fus sey I, 30 

In hap and hele, and in seknes, 

Ay, Merci, god, And graunt Merci. 

Graunt Merci, God, of al fi grace, 
pat fourmed me wif) wittes fyue, 
Wif> ffeet and hond, & eke of face 35 

And lyflode, whil I am alyue. 
Sifen {>ou hast ^iue me grace to )>ryue, 

And I haue Ruled me Rechelesly, 
I weore to blame, and I wolde striue. 

But Merci, God, And Graunt Merci. 40 

Merci f>at I haue mis-spent 

Mi wittes fyue ! ferfore I wepe ; 
To dedly synnes of te haue I asent, 

pi Comaundemens coufe I neuer kepe ; 

To sle my soule In sunne I slepe, 45 

And lede my lyf in Lecheri, 
ff rom Couetyse coufe I neuere crepe ; 
Ay, Merci, God, And Graunt Merci. 

Of ofes grete and Gloteny, 

Of wanhope and of wikked wille : 50 

Bacbyte my nei^hebors for enuy, 
And for his good I wolde him culle ; 
Trewe men to Robbe and spille. 

Of Symony and with surquidri ; 
Of all fat euere I haue don ille, $5 

Ay Merci, God, And graunt Merci. 

Bi lawe I scholde no lengor Hue 

pen I hedde don a dedly synne ; 
Graunt Merci )?at }e wolde forgiue. 

And ^eue me space to mende me Inne ! 60 



56 



ffrom wikked dedes & I wolde twynne, 

To Receyue me ^e beo redi 
In-to fi blisse fat neuer schal blynne, 

Nou Merci, God, And graunt Merci. 

Graunt Merci, for f)OU madest me, 65 

Merci, for I haue don a-Mis ; 
Min hope, Min help is hoi in pe, 
And fou hast ^ore bi-heiht me f>is : 
Whos euere is Baptised schal haue Blis, 

And he Rule him Rihtwysli. 70 

To worche f)i wille, lord, fou me wis ! 
Nou Merci, God, And graunt Merci. 

Soffast god, what schal I say, 

how schulde I amendes make, 
pat plesed pe neuere in-to pis day 75 

Ne schop me nou^t mi sunnes forsake? 
But schrift of moufe mi sunnus schal slake 

And I schal sece and beo sori. 
And to pi Merci I me take. 

Nou Merci, God, [And] Graunt Merci." 80 

ffader & sone and holigost, 

Graunt Merci, God wif> herte Hht, 
ffor f)ou woldest not fat I weore lost. 
pe ffader haf ^iuen me a miht, 
pe sone a science and a siht 85 

And wit to welde me worschupely, 
pe Holigost vr grace haf diht. 
Nou Merci, God, And graunt Merci." 

pis is pe Trone fat twynned neuere, 

And preued is persones fre, 90 

fat is and was and schal ben euere, 

Only God in Trinite ; 



57 

]ielp*\^s, Prince of alle pite, 

Atte day fat we schal dy, 
pi swete face fat we may se. 95 

Nou Merci, God, And Graunt Merci. 



I WITE MY SELF MYNE OWNE WOO 

6. (A II 2) RawlMS. C. 86. 

fol. 71 In my youth fulk wylde I was, 

My self pat tyme I cowde not knowe, 

I had my wylle in Query place, 

And pat hath brow^t me now so lowe. 

To chastice me pu didist it I trowe ! $ 

Thynke, Jhesu, I am fyne owne ! 

ffor me were fy sydes bloo ; 

I wite my self myne owne woo ! 

I made compromite trewe to be, 

ffirste whanne I baptisid was ; 10 

I toke pe worlde and went fro f>e, 

I folowd pe fende in his trace ; 

ffrom envie wold I not pas ; 

With couetise I was cau^t also, 

My flessh had his wille, [alas !] 15 

I wite my self myne owne woo ! 

lorde, I had no drede of pe ; 
Thy grace went Away perior ; 
But, lorde, sifen p\i bou^tist me, 
Thow woldest not pat I were lore. 20 

fol. 71 ffor me fu sufferste pe>Ties sore ; 

Thow my frende and I fy foo ; 
Mercy, lorde, I wolle no more ; 
I wyte my self myne owne woo ! 



58 

Now I wote I was fulk wylde, 25 

ffor my wille passid my witte ; 

I was full sturdy and pu iulle mylde, 

lorde, now I knowe welle hit. 

Off ]?y blisse I were fulle qwyte, 

Yf I had yt after fat I haue do ; 30 

But to py mercy I truste yt ; 

I wite my self myne owne woo ! 

hygh of herte I was and prowde, 

And of clofyng wondir gaye ; 

I loked pat men shuld to me lowte 35 

Were pat I wente in pe waye. 

On women and on good araye, 

All my delite stode only perto ; 

Ayen f>y techyng I said naye ; 

I wyte my seK myne owne woo ! 40 

Alle my truste was on my goode, 
More ))an on god pat me hit sent ; 
Welth made me high of mode ; 
luste and lykynge me oner wente. 
To gete good I wolde not stynte ; 45 

I ne rawghte how pat I came perto ; 
fol. 72 To f e pore neper gave ne lente ; 

Therfore I wite myselfe myne owne woo. 

Ther be })re poyntes of myschef 

That arn confusion to many A man, 50 

Whych pat makyth pe saule greve ; 

I shall hem telle as I can : 

Pore men prowde pat litelle han, 

That wolde be arrayed as ryche men goon ; 

Yf fey do folye, and be taen 55 

They may wite hem self her owne woo ! 



59 



A ryche man A thef is A nof^r, 

That of covetise wolle not slake. 

Yf be wrong [he] be gyle his broker, 

In bhsse he shalle be forsake. 60 

By fore god thefte is take ; 

Alk f>at -with wrong he wynneth so ; 

But yf f>at he A mendis make, 

he shalle wite him self his owne woo ! 

Olde man lechour is )?e firdde ; 65 

ffor of complexciown waxeth colde. 

hit bryngeth f>e soule payne Amydde ; 

hit stynketh on god many folde. 

Thyes f>re ]>at I haue of tolde 

Arn plesyng to fe fende, owre foo. 70 

hem to vse who is so bolde 

May wite hym self his owne woo ! 



fol. 72 Man take hede what f>u art ! 



But wormys mete f>u wote wel fis ! 
Whanne ]>& erthe hath take his parte, 75 

heven or helk woUe haue his. 
Yf ))U doest welle fu goest to blis ; 
Yf f)u do eville vnto ]>y foo ; 
love J)y lorde, and thynke on fis, 
Or wite f>y self fyn owne woo ! 80 

ffinis 



A PRAYER TO OUR LADY 

7. (A II 3) Add. MS. 27,909. 

Leuedi sainte marie, moder and meide, 

f>u wisie me nuf)e for ich eom eirede ; 

vnnut Hf to longe ich lede, 

hwanne ich me bifenche, wel sore ich me a-drede. 



60 



Ich eom i-bunde sore mid wel feole seonne, 
mid smale and mid grete, mid wel feole cumie. 
dai and nicht ich fundie to wendende heonne 
wielde Godd an heuene to hwucchere wunne. 

Slep me haS mi lif forstole richt half o5er more ; 
awai to late ich was iwar ; nu hit me reoweS sore lo 

inne slepe ne wende ich endie nocht, fech ich slepe euremore. 
hwao se lifeS f>at wakerur beo fencf) of mine sore. 

Al tojlonge slep6 )?e mann ])at neure nele awakie. 
hwo se understant wel his ende-dai, wel ^eorne he mot spakie 
to donde sunne awei fram him and fele almesse makie ; 15 

}ii him ne schal hwanne he forS want, his brei gurdel quakie. 

Slep me haS mi lif forstole er ich me bisehe ; 

fat ich wel a^itte nu bi suhSe of min ehe. 

mi brune her is hwit bicume, ich not for hwucche leihe ; 

and mi tohte rude iturnd al in-to oSre dehe. 20 

Ifurn ich habbe isunehed mid worke and mid worde, 

hwile in mine bedde and hwile atte borde. 

ofte win idrunke and selde of fe forde. 

muchel ich habbe ispened ; to lite ich habbe an horde. 

Hord J)at ich telle, is almesse-dede : 25 

^ieue fe hungrie mete and te nakede iwede, 

rede pQ redliese )?at is wi5-ute rede, 

luuie god almichti, and of him habbe drede. 

Ifurn ich habbe isune^et mid wurken and midd muSe ; 
and mid alle mine lime si'65e ich sunehi cuSe. 30 

and wel feole sunne ido fe me offincheS nu5e, 
and swo me hadde ifurn ido, ^if hit me crist i-^u5e. 

Moder, ful of mike, ibidde mi mod wende ; 
laete me steowi mi flesc, and mine fo schiende ; 



61 

edmodnesse luuie to mine lif es ende ; 35 

luue to gode and te mann, ic bidde fat tu me sende. 

Leuedi sainte marie, understond nu seonne mine. 

ber min erende wel to deore sune fine, 

hwas fle[s]ch and blod ihal^ed is of bred, of water, of wine, 

fat us ischulde he eure fram alle helle pine. ^ 40 

Inne mete and inne drinke ic habbe ibeo ouerdede, 

and inne wel sittende schon in pruttere iwede. 

hwanne ich ihurde of gode speke, ne hedd ich hwat me sede. 

hwan ich hier-of rekeni schal, wel sore me mei drede. 



HE)E LOUERD, pOU HERE MY BONE 

8. (AII-4) Had. MS. 2253. 

He^e louerd, fou here my bone, 
fat madest middelert & mone, 

ant mon of murf es munne ; 
trusti kyng, ant trewe in trone, 
fat f ou be wif me sahte sone, S 

asoyle me of sunne. 
ffol ich wes in folies fayn, 
In luthere lastes y am layn, 

fat makef myn f ryf tes f unne ; 
fat semly sawes wes woned to seyn, 10 

Nou is marred al my meyn, 

away is al my wunne. 

vnwunne hauef myn wonges wet, 

fat makef me rouf es rede ; 
Ne semy nout f er y am set, 15 

f er me callef me fule flet, 

ant waynoun ! wayteglede. 



62 

whil ich wes in wille & wolde, 
In vch abour among J?e bolde 

yholde wi)? fe heste ; 20 

Nou y may no fynger folde, 
Lutel loued, ant lasse ytolde, 

y leued wif ]>e leste. 
A goute me haj? ygreyfed so, 
ant ofer eueles monye mo, 25 

ynot whet bote is beste ; 
fat er wes wilde ase pe ro, 
nou yswyke, y mei nout so, 

hit siwej? me so faste. 

ffaste y wes on horse heh, 30 

ant werede worly wede ; 
Nou is faren al my feh, 
wif serewe fat ich hit euer seh, 

a staf ys nou my stede. 

when y se steden styfe in stalle, 35 

ant y go haltinde in f>e halle, 

Myn huerte gynnef to helde ; 
pat er wes wildest in wif> walle, 
nou is vnder fote yfalle, 

ant mey no fynger felde. 40 

per ich wes luef, icham ful loht, 
ant alle myn godes me at goht, 

m}Ti gomenes waxep gelde ; 
pat feyre founden mi mete & cloht, 
hue wriep awey, as hue were wroht, 45 

such is euel ant elde. 

Euel, ant elde, ant oper wo 

folewep me so faste, 
me punkep myn herte brekep a tuo ; 
suete god, whi shal hit swo ? 50 

hou mai hit lengore laste ? 



63 



whil mi lif wes lufer & lees, 
glotonie mi glemon wes, 

wif> me he wonede a while ; 
prude wes my plawe fere, 55 

lecherie my lauendere, 

wif hem is gabbe & gyle. 
Coueytise myn keyes here, 
Nipe ant onde were mi fere, 

f>at buef folkes fyle. 60 

Lyare wes mi latymer, 
sleuthe & slep mi bedyner 

fat whenef me vnbe while. 

vmbe while y am to whene, 

when y shal murfes meten ; 65 

monne mest y am to mene : 
lord, ))at hast mi lyf to lene, 

such lotes lef me leten ! 

such lyf ich haue lad fol ^ore ; 

merci, louerd ! y nul namore, 70 

bowen ichulle to bete ; 
syker hit siwef me f ul sore ; 
gabbes les & lufere lore 

Sunnes buef vn sete. 
godes heste ne huld y noht, 75 

bote euer a^eyn is wille ywroht, 

mon leref> me to lete. 
such serewe haf) myn sides })urhsoht, 
fat al y weolewe a way to noht, 

when y shal murfes mete. 80 

To mete murfes ich wes wel fous, 

ant comely mon to calle ; 
ysugge by of>er ase by ous : 
alse ys hirmon halt in hous, 

ase heuef> hount in halle. 85 



64 



Dredful def, why wolt fou dare 
bryng fis body, f>at is so bare, 

ant yn bale ybounde ? 
Careful mon yeast in care, 
yfalewe as flour ylet forffare, 90 

ychabbe myn defies wounde. 
murfes helpef me no more ; 
help me, lord, er fen ich hore, 

ant stunt my lyf a stounde ! 
fat ^okkyn haj? y^yrned ^ore, 95 

Nou hit serewef him ful sore, 

ant bringej) him to grounde. 

to grounde hit hauef) him ybroht : 

whet ys f>e beste bote ? 
bote heryen him fat haht vs boht, 100 

vre lord, fat al f is world haf wroht, 

ant fallen him to fote. 

Nou icham to def e ydyht, 

ydon is al my dede ; 
god vs lene of ys lyht, 105 

fat we of sontes habben syht, 

ant heuene to mede ! 
amen. 



GOD, pAT AL pis MYHTES MAY 

9. (A II-5) Harl. MS. 2253, fol. 106, a. 

God, fat al fis myhtes may, 
in heuene & erf e f y wille ys 00, 

ichabbe be losed mony a day, 
er ant late y be f y foo ; 



65 



Ich wes to wyte & wiste my lay ; s 

longe habbe holde me fer fro ; 
vol of merci ))0U art ay, 

al vngreyfe icham to ]>e to go. 

To go to him pat haf) ous boht, 

my gode deden buef fol smalle ; lo 

of pe werkes pat ich. ha wroht 

pe beste is bittrore pen pe galle. 
My god ich wiste, y nolde hit noht, 

in folie me wes luef to f alle ; 
when y my self haue pourh soht, 15 

y knowe me for pe worst of alle. 

(jod, pat de^edest on pe rod, 

al pis world to forpren & fylle : 
for ous pou sheddest pi suete blod, 

pat y ha don, me lykep ylle ; 20 

bote er a^eyn pe stip ystod, 

er & late, loude ant stille, 
of myne deden fynde y non god ; 

lord, of me pou do py wylle. 

In herte ne myhte y neuer bowe, 25 

ne to my kunde louerd drawe ; 
my meste vo ys my loues trowe, 

crist ne stod me neuer hawe. 
Ich holde me vilore pen a gyw, 

& y my self wolde bue knawe ! 30 

Lord, merci, rewe me now ! 

reyse vp pat ys f alle lawe ! 

God, pat al pis world shal hede, 

pe gode myht pou hast in wolde ; 
on erpe pou come for oure nede, 35 

for ous sunful were boht & solde ; 



66 

when we buej? dempned after vr dede 
a domesday, when ryhtes bue]> tolde, 

when we shule suen J?y wounde blede, 

to speke fenne we buej) vnbolde. 40 

vnbold icham to bidde ]>q bote, 

swyfe vnreken ys my rees ; 
Jjy wey ne welk y ner afote, 

to wickede werkes y me chees ; 
fals y wes in crop ant rote, 45 

when y seyde py lore wes lees ; 
lesu crist, fou be mi bote, 

so boun icham to make my pees. » 

Al vnreken ys my ro, 

louerd crist, whet shal y say? 50 

Of myne deden fynde y non fro, 

ne nofyng f>at y fenke may. 
vnworf) icham to come f>e to, 

y serue f>e noufer nyht ne day ; 
In ];y merci y me do, 55 

god, fat al ))is myhtes may. 

THE PRAYER 

10. (B a I a i) Horae MS. in York Minster Library. 

lorde iesu cryste, leuand god sone, 

pu set f>i deyd, pi cros, and f>i passione, 

Be-twix f)i dome, & my saul, for deyd fat I haue don. 

Now [and] at my endyng fat I be noght fordon. 

And graunte us mercy, & grace whyls we er on lyue, s 

Un-to fi kyrke, un-to f i rewme, for f>i wondys fine ; 

forgyuenes & reste to faim fat to ded ere dryue, 

joy to al synful : f is graunt us be-liue. 

f u fat hues, fu fat reynnes, god wit-owtyn ende 

in werld of werles wit ioy fat euer sal lende. 10 



67 



LOVERD, SHYLD ME VROM HELLE DETH 

11. (B a I a 2) Porkington MS. No. 10. 

Loverd, shyld me vrom helle deth at thylke gryslich stounde, 
When hevene and oerthe shulle quake and al that ys on grounde, 
When thou shalt demen al wyth fur, that ys on oerthe 
y-vounde. 

Libera me, Domine, etc. 

Ich am overgard agast, and quake al in my speche, 5 

A^a the day of rykenyng and thylke gryslych wreche, 
When hevene and oerthe shulle quake, and al that ys on grounde. 
That day ys day of wreythe, of wo, and soroufolnesse ; 
That day shall boe the grete day, and voul of bytternesse, 
When thow shalt demen al wyth fur that ys on oerthe 
y-vounde. 10 

Thylke reste that ever last, loverd, thow hoem sende, 
And lyht of hoevene blysse hoem shyne wythouten ende ! 
Crist, shyld me vrom deth endeles, etc. 
What, ich vol of wrechenesse, hou shal ich take opon. 
When ich no god ne bringe to-vore the domes mon ? 15 

IN MANUS TUAS 

12. (B a I a 3) Arundel MS., 292. 

Loverd Godd, in hondes tine 
I biqueSe soule mine, 
Su me boctest wi5 Si deadd, 
Loverd Godd of soSfastheedd. 

TO OUR LADY 

13. (Bala 4) York ^(Trae MS. 

Blessyd marye, virgin of nazareth, 

And moder to the myghty lorde of grace, 



68 

That his people saued hath with his deth 

From the paynes of the inf ernall place ; 

Now blessyd lady, knele before his face, s 

And praye to hym my soule to saue from losse, 
Whiche with his blode hath bought us on the crosse. 

PREY WE TO THE TRINYTE 

14. (B a I b i) MS. Engl. Poet. e. I. 

Prey we to the Trinyte, 
And to al the holy compane, 
For to bryng us to the blys, 
The wych shal never mysse. 

Jhesus, for thi holy name, S 

And for thi beter passyon, 
Save us frome syn and shame 

And endeles damnacyon ; 
And bryng us to that blysse. 
That nevere shal mysse. 10 

gloryusse lady, quen off heven, 

O mayden and o mothere bryght, 
To thy Sonne with myld steven 

Be owr gyde both day and nyght ; 
That we may cum to that blysse, 15 

The wych never shal mysse. 

Gabryell and Raphaell, 

With scherapyn and seraphyn, , 

Archangell Mychaell, 

With all the orderes nyne, 20 

Bryng us to that blysse, 
The wych never shal mysse. 

O ye holy patryarkys, 

Abraham, Ysaak, and many moo. 
Ye were full blyssed in yowr werkes, 25 

With Johan the Baptyst also, 



69 



For to bryng us to that blysse, 
The wych never shal mysse. 



The holy apostoles off Cryst, 

Petur, Paule, and Bartylmewe, 30 

With Thomas, and Johan the evangelyst, 

And Andrew, Jamys, and Mathewe, 
Bryng us to that hevenly blysse, 
The wych never shall mysse. 

Pray fore us ye seyntys bryght, 35 

Stevyn, Laurence, and Cristofore, 
And swete Georg, that noble knyght, 

With all the marters in the qwere, 
That we may cum to that blysse, 
The wych never shall mysse. 40 

Blyssyd confessor, sent Gregory, 

With Nycholas, and Edward kyng, 
Sent Leonard, and Antony, 

To yow we pray above all thyng. 
To helpe us to that blysse, 45 

The wych never shal mysse. 

O yow blyssed matrones, 

Anne and swet sent Elsabeth, 
With al the gloryus vyrgyns, 

Kateryne and noble sent Margaret, 50 

Bryng us to the hevenly blysse. 
The wych never shal mysse. 

All the company celestyall, 

The wych do syng so musycall, 
To the kyng pryncypall 55 

Pray fore us terrestyall. 
That we may cum to that blysse, 
The wych never shall mysse. 



70 



A SHORT PRAYER AFTER THE LEVATION 
FOR MERCY 

15. (B a I c i) Brit. Mus. Royal MS. 17 B. XVII. 

Lord, als ))ou con, & als f>ou wille, 
haue merci of me, pat has don ille ; 
for what-so f>ou with me wil do, 
I holde me payde to stonde fer-to ; 
f>i merci, ihesu, wold I haue, 
and I for ferdnes durst hit craue, 
bot {>ou bids aske, & we shal haue ; 
swete ihesu, make me saue. 
And gyue me witt & wisdame right, 
to loue f>e, lord, with al my might. 

A PREYER AT pE LEUACIOUN 

16. (Bale 2) Vernon MS. 

I fe honoure wif> al my miht 
In fourme of Bred as i pe se, 
Lord, fat in fat ladi briht, 
In Marie Mon bi-come for me. 

pi fflesch, fi blod is swete of siht, 
pi Sacrament honoured to be, 
Of Bred and Wyn wif) word i-diht ; 
Almihti lord, I leeue in f>e. 

I am sunful, as fou wel wost : 
Ihesu, fou haue merci of me ; 
Soffre fou neuere f>at I be lost 
ffor whom fou di^edest vppon ]>e tre, 
Ac forwh fat ladi of Merci most 
Mi soule fou bringe in blisse to f e ; 



71 

Repentaunce to-fore mi de|), 15 

Schrif[t] and Hosul fou graunte me, 
WiJ? ffadur and Sone and Holygost, 
pat Regnef God In Trinite. Amen. 

IHESU, FILI DEI, MISERERE ME 

17. (Balc3) Add. MS. 5665. 

Ihesu, fill dei, miserere me I 
Glorius god in trinite, 
well of man and pyte, 
thus cryed the woman of canany : 
miserere meij miserere mei I S 

Thou came fro heuen fro thi se 
To this worlde a man to be ; 
Ther for y crye deuoteh, 
Miserere mei I 

As fou haddest vn hir pyte, 10 

So y pray thou haue vn me 
Glorius god in trinite, 
Miserere mei I 

PRAYER FOR GOD'S MERCY 

18. (B a I c 4) Rawlinson MS. B 408. 

Now, god almyghty, haue mercy on me. 
For maryes prayers and al f>i sayntes, 
To whom, wepyng and knelyng on kne. 
Thus now I make my complayntes. 
For sorow and shame my hert ful fayntes ; 5 

Wherfor of al my synnes mercy I cry, 
And pray the to bryng to heuen an hy. 



72 

PRAYER TO MARY 

19. (Bales) Rawiinson MS. B 408. 

I pray pe, lady, pe moder of crist, 

Praieth ^oure sone me for to spare, 
With al angels, and lohn Baptist, 

And al ^oure company jjat now ys thare. 
Al holichurch, for my welfare, 

Graunt me of ^oure merites a participacion, 
And praieth oure lorde for my saluacyon. 

PRAYER TO ST. ELENE 

20. (B a I c 6) MS. in York Minster Library. 

Seint elene, j pe pray 

To helpe me at my last day 

To sette pe crosse and his passione 

Betwix my synfull saule and dome ; 

Now, and in pe hoiire of my dede, 

And bring my saule to requied. 

DEUS IN NOilfliVE TUO SALUUilf ME FAC 

21. (B a I c 7) Cotton Calig. A. 11. 

fol. 64 God in thy name make me safe and sounde, 
And in thi vertu me deme & justifie ; 
And as my leche sarch vn to the grounde 
That in my soiile ys seke, and rectifie ; 
To haue medicine afore thi dome y crye, 
Wherfore of endeles mercy ay & grace, 
That y desposed be vch day to dye, 
And so to mende whylle y haue tyme & space. 



73 

God, gmciously here thou my prayere, 

The wordes of my mouth with ere p^rceyue ; lo 

And as thou on the rode hast bought me dere, 

To make me able thi mercy to receyue, 

Yf that the fende with frawde wolde me deceyue, 

In thi ryght syde ther be my restyng place, 

Wher ys my comfort, as y clere conceyue, 15 

WTiych may me mende whille y haue tyme & space. 

For ahenes, lord, haue ryse a gaynes me, 

And peple stronge my sely soule haue sought ; 

But for they purpose not to loke on the, 

Gramarcy, lord, hir malyce greueth nought. 20 

Thi passiou/z be empnnted in my thought, 

The chefe resort my fleschly foo to chase ; 

On hit to be remewbred welle y aught. 

Which miay me mende whylle y haue tyme & space. 

Be hold for soth, pat god hath holpen me, 25 

And of my soule our lord ys vp taker. 

Wher y was thralk, lord, thou hast made me fre. 

Whom shalk y thank bot the, my god, my maker ? 

When y shalle slepe, my keper and my waker. 

In eueri perylle, my confort and my gmce, 30 

For of the synfulk art thou not forsaker. 

That wylle amende whilk they haue tyme & space. 

Turne euell thynges vnto my mortalk fon, 
And in thi treuth dispytt hem and spylle. 
So that they be co-founded euerychone, 35 

That wolde me stere to dysobaye thi wylle. 
The dewe of loue and drede on me distylk, 
Thatt dedely synne ne do me not deface, 
fol. 65 That y thi hestys fayle not to fulfylle, 

Whech may me mende why Ik y haue tyme & space. 40 



74 



I shalk do to the wylfulk sacrifice, 

And knoulech to thi name, for it is good ; 

AUe oder worldely weele y wylle dispice, 

That floweth oft and ebbeth as the floode. 

Thy blessed body, sacred flesh and blode, 45 

With alle my hert beseche y euer of gmce, 

Hit to receyue in clennes for my foode ; 

hit may me mende whilk y haue tyme & space. 

For fro alk trouble thou hast delyuered me, 

And on enmyes myne eye hath had despite ; 50 

Wher fore y Wylk perseuer alle day with the, 

In iulle entent that kyndenesse for to quite. 

And, that y may p^rforme thus my delite, 

Salve me, Lorde of mercye and full of grace, 

That neuer the fende me finde oder plite, 55 

But ener to mende whille y haue tyme & space. 

Joye to the fader, iulle of gmce & might, 
Whos hye powere alk thyngis may preserue ; 
Joye to the sone, that in a [holy] virgyn lyght. 
And for oure gylt vpon a cros wold sterue ; 60 

Joye to the holy gost that doth conserue 
Oure clere conceyte by confort of his grace ; 
A blessed trinite welle owe we to reserue, 
Luynge to the whilk we haue tyme & space. 

That ys and was with owte begywnyng, 65 

Thre in 00 substaunce, hye god in cowmbtable, 
With owte ende eternalk enduryng, 
Alle myghty, ryghtwys and mercyable ; 
Gracious to alle cowtrite and co/^fortable ; 
Both lord and leche to alle lust haue grace, 70 

Wyth oyle of mercy to mescheue medcynable, 
Hele alle hut of synne with tyme and space. 
ExpHcit. 



75 



IHESU, MERCY FOR MY MYSDEDE ! 

A deuo3rt Meditacione 

22. (B a II a i) Trin. Coll. Cambridge, B. lo, 12. 

Ihesu, mercy ! mercy, I cry : 

myn vgly synnes f>ou me forgyfe. 
f>e werlde, my flesch, f>e fende, felly 

pai me besale both strange & styfe ; 
I hafe ful oft to faim consent, 5 

& so to do it is gret drede ; 
I ask mercy with gud entent ; 

Ihesu, mercy for my mysdede ! 

f>e werlde thurgh his fals couetyse, 

fe fende with pryde, wreth, ire, envy, 10 

I hafe, ihesu, bene fylde oft sythys, 

my flesche with slewth & lychery, 
And ofere many ful gret synnes ; 

with repentance, ihesu, me fede, 
for euere my tyme opon me rynnes : 15 

Ihesu, mercy for my myse-dede ! 

Turne not fi face, ihesu, fro me, 

f>of I be werst in my lyfynge ; 
I ask mekely mercy of f>e, 

for fi mercy passes al thynge. 20 

In pi fyue woundes f)ou sett my hert, 

fat for mankynde on rode walde blede, 
& for f>i dede vgly & smert, 

Ihesu, mercy for [my] myse-dede ! 

To ]>i lyknes J>ou has me made ; 25 

fe for to lufe f>ou gyfe me grace ; 
fou art pe lufe fat neuere sal fade ; 

mercy I ask whils I hafe space. 



76 



I tryst ihesu of forgyfnes 

of al my synnes, fat is my crede ; 30 

I me betake to pi gudnes ; 

ihesu, mercy for my myse dede ! 

Als touchande grace, bot ask & hafe : 

f>us has {)ou het in fi beheste, 
})ar for sum grace on fe I crafe ; 35 

with outen grace I am bot beste, 
& warre fan beste defyled with syne ; 

f>ou graunt fat grace may in me brede, 
fat y f i lufe, ihesu, my)t wynn : 

Ihesu, mercy for my myse dede ! 40 

Al worldely lufe is vanite ; 

bot lufe of f e passes al thynge. 
far is no lufe with outen f e ; 

& f e to lufe I aske syghynge. 
Ihesu, me graunt lufe f e forthy, 45 

& in f i law, ihesu, me lede. 
fat I myslufede, I aske mercy : 

Ihesu, mercy for my mysdede ! 

It is of f e for to forgyfe 

alkyn tryspas both more & mynn ; 50 

It is of me, whyls I here lyfe, 

or more or lesse ilke day to synne, 
And of f e fende to duell f er in : 

f ou gyfe me grace to take gud hede 
fat I f i lufe, ihesu, myght wynne ! 55 

Ihesu, mercy for my myse dede ! 

Dispyce me no^t, swete lorde ihesu, 

I am f e warke of fin aghen hende, 
f of I hafe bene to f e vntrew ; 

Ihesu, f ou kan me sone amende ; 60 



77 



fou has me made to pi lyknes, 

thurgh synne I haf e loste heuenly mede ; 

Now, lorde, I aske of f>i gudenes, 
Ihesu, mercy for my myse dede ! 

jjow walde be borne for synful man, 65 

for syn fou take no wreke on me. 
My comforth be pi harde passione ; 

Ihesu, fer of hafe I gret nede ; 
For S3aine fou graunt me contrycione : 

Ihesu, mercy for mysdede ! 70 

After my dedes fou deme me no^t ; 

after mercy fou do to me ; 
If fou me deme als I hafe wroght, 

in bytter payns I drede to be. 
My lyfe to mende, & hafe mercy, 75 

My lorde ihesu, f>ou be my spede, 
luf f>e, & drede, fat syttis on hy : 

Ihesu, mercy for my myse dede ! 

If I had done ilke cursed warke, 

& alken synnes wer wro^t in me, 80 

fou may f>aim sleke, als is a sparke 

when it is put in myddes fe see ; 
& ))ar may no man sleke my myse 

bot fou, ihesu, of pi godhede ; 
when fou wouchesafe, fou sone forgyfese : 85 

Ihesu, mercy for my mysdede ! 

Who sal pe loue in fynyal blyse 

bot trow mankynde & angels f re ? 
Myne heretage forsoth f>at is : 

thurgh gude lyfeynge & grace of pe, 90 



78 



fou me restore vnto fat blyse ; 

beholde frelete of my manhede 
f>at makes me oft to do of myse : 

Ihesu, mercy for my myse dede ! 

po[u] wil no dede of synful man : 95 

pus says fou, lorde, in haly wryt ; 
Ful wele wote j)ou coueytis fan 

he turne his lyfe & sone mende it : 
fou gyfe me grace my lyfe to mende, 

beswylede in synn als wyckede wede ; locy 

graunt me f>i luf e with outen ende : 

Ihesu, mercy for my myse dede ! 

pow art my god, I f>e honour ; 

J?ou art f e sone of maydyn & moder, 
In my dysese f>ou me succure, 105 

fou art my lorde, fou art my brother ; 
fou sal me deme, my cryatour, 

when vp sal ryse euere ilke a lede. 
Mercy, ihesu, my sauyour ! 

Ihesu, mercy for my myse dede ! no 

pou helpe me, lorde, in my dysese, 

f>at walde susan helpe in hir tyme ; 
Ful gret clamour fan gon fou pese 

when scho acusede was of crime, 
fou sett my saule, myn hert, in ese, 115 

fe fende to flee & his falshede, 
& soferandely f e for to plese : 

Ihesu, mercy for my mysedede ! 

In my baptym I mayde beheste 

fe for to serue lelely & wele ; 120 

Of f i seruyse oft hafe I seste, 

with synnes thowsandes serued vnsele ; 



79 



Bot \>i mercy nedes moste be sene 

per moste synn is & wyckededede ; 
f>e moste synful I am, I wene ; 125 

Ihesu, mercy for my myse dede ! 

For synful man walde )?ou be borne ; 

for ryghtwys not fou wil recorde ; 
when man had synnede, he was forlorne, 

& fan him kyndely fou restorde ; 130 

f>ou sufferde paynes coronde with thorne, 

nakede with outen clath or schrede, 
with mykel some fi body torne : 

Ihesu, mercy for my mysedede ! 

pou art my hope, my way ful sure, 135 

ay lastande hele, both streng[t]h & pese ; 
f>ou art pyte fat ay sal dure ; 

pou art gudenes fat neuer sal sese ; 
f ou art clennes, both mylde & mure ; 

me fe displese, ihesu, for bede, 140 

Als fou was borne of virgyne pure : 

ihesu, mercy for my myse dede ! 

pou byddes ilke man ^elde gud for ille, 

not il for il to ^elde agayne ; 
fan I beseke f e fat f ou wil 145 

graunt me mercy in stede of payne ! 
f ou me forgyfe, & mercy graunt, 

& in my saule f ou sawe f i sede, 
fat I may, lorde, make myne auaunt : 

Ihesu, mercy for my myse dede ! 150 

Bot, worthy lorde, to f e I cry, 

& I in syne stande obstynate ; 
farfore fou heres no^t me for thy, 

f ou will no^t here me in fat state. 



80 



f>ou gyfe me grace lefe my foly, 155 

& fe[r]uently pe lufe & drede, 
fan wate I wele I get mercy : 

Ihesu, mercy for my myse dede ! 

Noght euere-ilke man ))at cales f)e lorde, 

or mercy askes, sal hafe f>i blise, 160 

his conscience bot he remorde, 

& wirke f>i wil, & mende his lyfe. 
To blyse sal I sone be restorede, 

if I my saule fusgates wil f ede ; 
Of fi mercy late me recorde : 165 

ihesu, mercy for my mysedede ! 

I me betake to f>i mercy 

f>at mercy gyff es to synful men ; 
fou kepe me, lorde, for I sal dye, 

& wot neuere whore, ne how, ne when. 170 

In f>i hote lufe me graunt to brene, 

& f>at lesson trewly to rede ; 
Mercy ))ou graunt ! amen ! amen ! 

Ihesu, mercy for my myse dede ! Amen. 

AN ORISOUN TO VR LORD IHESU 

23. (B a II a 2) Vernon MS. 

Lord, Swete Ihesu crist : Haue Merci of me, 
pat out of heuene come : In to eorf)e for me. 
And of pe Mayden Marie : Boren were for me, 
And on pe cros suffredest : Bitter def> for me. 

Of Merci I pe bi-seche : pat mest of mihtes may, 5 

Swete Ihesu my cumfort : Mi solas and my play ; 
Of alle vices me deliuere : And of pruide, I pe pray, 
pat I may pe louen as lord : And knowen for God verray. 



81 

fful muchel ouhte i f>e to louen : In stable treuf>e and fay, 
Whon f)ou were god & art : And schalt ben euere and ay, lo 
Com in to eorf>e for my loue : To take my kuynde of clay, 
In f>e world to wynne vs wele : pou suffredest men worchen fe 
way. 

In f>e werld, as I seide er : In bodi, fflesch and Bon, 
Hunger and ffurst heddestou bof)e : In hot and Cold to gon, 
Blod and watur f>ou swattest bofe : And Teres Mony on, 15 
And se))f)tien for f>e loue of vs : pi def fen hastou tan. 

fful hard and deolful was pi dep : Hose hedde hit in fouht, 
Whon fat f>i blessede bodi : pat neuere no sunne wrouht. 
Among fis false lewes : pi-seluen hast hit brouht, 
And seffen wip f>i blessed blod : ffrom bale fou hast us bouht. 20 

A Croune of fomes vppon fin hed : pei setten scharp and 
fresch, 
Heo fe nayleden hondes and feet : Bof e forwh bon and flesch ; 
A spere forwh fi syde stong : pyn herte was ful nesch, 
Whon pe blod and watur sprong : pat vs of synne wesch. 

perfore, Ihesu, I preye pe : pat ful art of pite, 25 

ffor my sunnes fat ichaue don : Let me neuere dampned be ; 
But graunte me grace in to myn herte : Ihesu in Trinite, 
Of stable treuf e and rihtwys werkes : Loue and Charite. 

fful ofte ichaue f e wraff ed : And broke f i Comaundement, 
Wif al my fyue wittes : In lyf fat f ou me hast lent, 30 

Vnwisliche hem dispendet : And not in good entent, 
Bof e f orwh m)ni owne wille : And of ure entisement. 

Bote, swete Ihesu, woltou me here : wif schrift ichaue f e 
souht ; 
In mony werkes, as I seide ere : Vuele ichaue I- wrouht, 

G 



82 



Non of hem schal ben vnpunissched — : peron is al my J?ouht ; 35 
I take me al to f>i Merci : ffor loue for-^et me nouht. 

Wif Mylde mod and sikyng sore : I be-seche fe 
ffor my ffrendes, Ihesu crist : As well as for me. 
On domes-dai whon J^ou schalt demen : Scheuh us f>i face freo, 
And bring vs in toparadys : per endeles blisse schal beo. Amen. 

IHESU CRISTE, HAUE MERCY ONE ME 

24. (B a II a 3) Thornton MS. 

Ihesu Criste, haue mercy one me, 

Als fou erte kynge of mageste, 

And forgiffe me my synnes all 

fat I hafe donne bathe grete and small, 

And brynge me, if it be thi will, S 

Till heuene to wonne ay with fe styll. Amen. 

HER BIGINNEp AN ORISUN OF pE TRINITE 

25. (B a II a 4) Vernon MS. 

Fadur and Sone and Holigost, 

Lord, to fe I crie and calle, 

Studefast god of mihtes most, 

My sunful lyf is steken in stalle : 

I preye f>e, lord, f>at fou fe haste, S 

Me to helpe, fat I ne falle, 

And mak my soule clene and chaste 

Of dedly sunnes and vueles alle. 

Lord, haue Merci of my synne. 

And bring me out of al my care ; 10 

Euele to do wol I nou blynne. 

I haue I-wrouht a^eynes pi lawe : 



83 



pou rewe of me [hope] out and Inne, 

And hele me of my woundes sare ; 

Lord, fat al fis world schal winne, 15 

Hele me ar i fonde and fare. 

Fadur in heuene fat wel may, 

I preye f>e, lord, fat fou me lede 

In rihte weyes of stable fay ; 

At myn endynge whon I haue drede, 20 

pi grace ich aske [bof e] niht and day, 

And ^if me merci of my misdede. 

Of myn askyng sei not nay, 

But help me, lord, at al my nede. 

Swete Ihesu, for me was boren, 25 

pou here my preyere loud and stille, 

ffor pyne fat me is leid bi-foren 

Ofte i sike and wepe my fille. 

Ofte so haue I ben for-sworen 

Whon I haue don a^eynes f i wille, 30 

Suffre neuere fat I beo loren, 

Lord, for myne dedes ille. 

pe holygost, i preye to f e 

Niht and day in good entent, 

Of al my serwe cumforte me, 35 

pin holi grace f ou me sent, 

And schild me, ^if f i wille be, 

Ifrom dedly sunne, fat I ne beo schent, 

ffor Marie loue, fat Maiden fre, 

In whom f ou lihtest, verreyment. 40 

I preye f e, ladi Meoke and mylde, 
pat f ou preye for my misdede, 
ffor [f e] loue of fi swete childe. 
As f ou him sauh on Rode blede. 



84 



Euer^ite haue I ben wylde, 45 

Mi sunf ol soule is euere in drede : 

Merci, ladi, fou me schilde, 

And helpe me euere at al myn nede. 

Merci, Marie, Mayden dene ! 

pou let me neuere In sunne dwelle, 50 

Preye for me fat hit beo sene. 

And schild me from f>e pyne of helle. 

ffor certes, ladi, riht wel i wene 

pat al my fomen mai^t fou felle. 

ffor-f)i my serwe to pe I mene, 55 

Wi{> ferful mod my tale i telle. 

Bi-J)enk f>e, ladi, euere and ay 

Of alle wimmen fou berest f>e flour : 

ffor sunfol mon, as I )?e say, 

God haf> don fe gret honour. 60 

Receyue my preyere niht and day, 

Whon I pe be-seche in eny a Our ; 

Help me, ladi, so wel fou may. 

Me bi-houef> fou beo my counseilour. 

Off counseil, ladi, i preye to pe 65 

Niht and day, in wele and wo ; 

Of al my serwe cumforte me. 

And beo my scheld a^eynes my fo. 

ffor, certes, }ii pi wille hit be, 

Al my fo-men mai^t fou slo. 70 

Help me, ladi hende and fre, 

pou take f>at pe is fallen fro. 

At myn endynge fou stonde bi me 

Whon I schal henne fonden and fare, 

Whon fat I quake and dredful be, 75 

And al my sunnus I rewe hem sare. 



85 

As euere myn hope ha)? ben in pe, 

penk ))eron, ladi, and help me ))are, 

ffor [pe] loue of ))at swete tre 

pat Ihesu spradde [on] his bodi bare. 80 

Ihesu, for fat ille stounde 

pat f)OU woldest on Rode blede, 

At myn endynge whon I schal founde 

pou haue merci of my misdede, 

And hele me of my dedhch wounde, 85 

And help me in fat muchele nede ; 

Whon de}) me takef and bringej? me to grounde, 

pen schal i, lord, fi domes drede. 

Lord, for my sunnes to do penaunce, 

ffor my dedes fou graunte hit me 90 

A space of verrey Repentaunce 

In serwe of herte, I preye to fe. 

In fi merci is m>Ti affyaunce ; 

Of my folye fou haue pite, 

pat f)OU of me ne take veniaunce, 95 

Lord, for f>i benignite. 

Lord, as fow art ful of miht. 

And as f>ou alle finges wost 

My \yi amende, my dedes riht, 

ffor mari loue fat maiden chost, 100 

And bringe me sone in to fat liht 

Wif-outen ende f er ioye is most, 

On f e to seo fat swete siht, 

ffadur and Sone and HoUgost. Amen. 

DO MERCY TO FORE THI JUGEMENT 

26. (B a II a 5) Harl. MS. 1704. 

fol. 26 There is no creature but one, 
Maker of Alle creaturs, 



86 

One god And euer one, 

iii in one alle waye endures. 

To thatt lord we make oure mone 5 

In whom is alle comfort And cure ; 

To thenk howe freel we be euerychone ! 

This world is but hard Aventure ! 

For who so most ys in assure 

Sonnest is slayne And shent. lo 

Whan thou this world wzt/^ fyre shalt pure, 

do mercy to fore thy jugement. 

We aske mercy or thou deme, 
lest thou dampne pat fou hast wTought. 
What joy were it the deville to queme 15 

to yef hym thatt f)U hast bought ? 
fol. 27 And of thy sight thou vs flome, 
We are but lost right as nought. 
Nowe make us like such as we seme, 
In loue And drede thou sett our fought. 20 

ffor s>Tine hath us so porowgh sought 
There is no trust in oure entent ; 
Yn to Acounte or we be brought, 
do mercy tofore thy jugement. 

We aske mercy of rightnesnesse, 25 

ffor fy beheste^ alle be right ; 

And of thyn owne kyndnesse 

Saue yt fat f>u hast yeue vs of thy might. 

This world is but likerous bitt^rnesse 

That reueth vs discrescion And sight ; 30 

The fende, the flesche, fyght Ay en vs : 

Thus we be take in turment. 

Lorde, or thy dome be dight to vs 

do mercy to fore thy jugement. 



87 

Thou hast bede vs aske And haue ; 35 

That yeuyth vs comfort for to calk ; 

and thou hast ordeygned mane to saue, 

mercy A boue thy workes alk. 

Also thyn hert blood thou for vs gaf, 

make vs fre fat erst were thralle. 40 

let neuer the deuelk with sorow depraue 

That wsischen was in holy welle. 

Oure flesche is f reel that makyth vs falle ; 

With grace we rise And shulk repent, 

And thus we hope fat we haue shalle 45 

Mercy A fore thy jugement. 

We aske mercy of all thyng, 
and thou Art kynde in euery degre : 
fou yaf vs with stonys beyng, 
fol. 27" And with thy sprite endued vs f[ree] ; 50 

With trees thou yaf vs growing, 
With bestis felyng lyf haue we, 
With Aungelle^ vnderstondyng. 
With byleue wedded vn to the. 
And with thy blode bought we be ; 55 

Yet be we fals And necligent 
That we mowe neuer clymuie ne fle 
Thy mercy in thy jugement. 

Wherefore oure soulis And oure lyff 

in to thyn handys we betake 60 

Oute of temptacouw And stryf 

To saue vs when we slepe or wake. 

Now JhesUy for thy woundys v. 

And also for thy moder sake. 

The deuyl Away fro vs thou dryue 65 

When deth shall his maistres make. 



b 



88 



Thou saidest thou woldest not vs forsake, 

When thou on the rood were rent. 

Ayen thy dome we crie And quake, 

Do mercy to fore thy jugement. 70 

And yef thou deme vs rightnesly, 
yiff mercy the execusion ; 
Alk though we haue seruyd fe vnkyndely, 
Take hede to oure entencouw. 

We yelde vs synfulle And sory 75 

With knowlich And contricouw ; 
Oure bapteme And thy mercy 
We take to oure proteccion. 
Byleue is oure saluacou/j 

By lawe of thy Cowmaundement. 80 

Now, crist, put alk thy passion 
Be twyye vs And thy jugement. 
Amen. 



lESU CRIST, HEOUENE KYNG 

27. (B a II a 6) Had. MS. 2253, fol. 75, b. 

lesu crist, heouene kyng, 
^ef vs alle god endyng, 

)?at bone biddef fe ; 
at J?e biginnyng of mi song ; 
iesu, y f>e preye among, S 

In stude aiwher y be ; 
ffor f)ou art kyng of alle, 
to fe y clepie ant calle, 

f>ou haue merci of me ! 

pis enderday in o morewenyng, 10 

wif dreri herte ant gret mournyng 



89 



on mi folie y fohte ; 
one fat is so suete a f>ing, 
fat ber iesse, fe heuene kyng, 

merci y besohte. is 

iesu, for pi muchele myht 

f>ou graunte vs alle heuene lyht, 

pat vs so duere bohtes ; 
for pi merci, iesu suete, 
pin hondy werk nult f>ou lete, 20 

}>at })0U wel ^erne sohtes. 

Wei ichot, ant sof> hit ys, 
fat in fis world nys no blys, 

bote care, sere we, & pyne ; 
fare fore ich rede, we wurchen so, 25 

fat we mowe come to 

fe ioye wif oute fyne. 

TO THE, MAIST PEIRLAS PRINCE OF PECE 

28. (B a II a 7) Gray MS., Advocates' Library, fol. 77-79. 

To the, maist peirlas prince of pece, 

With all my power I the pray, 

Let neuir thi micht be merciles 

Til man that thou has maid of clay. 

Cure kynd is brukle, that is no nay, 5 

And euir has bene sen thou maid ws ; 

Thairfore we nedis baith nycht and day 

Of miserere mei, Deus. 

We that ar heir baith fair and fresch 

Sail faUou and faid / as dois a flour, 10 

And all dehtis of mannis flesch 

Sail failye in less / than half ane hour ; 



90 



Baith kyng and knicht and conquerour. 

Dreid of fra this blis mon bus 

And be fulfane to seke succour ^ 15 

At miserere mei, Deus. 

Quhen we ar deid, and dollin deip, 

And grene gress growis abone our brawn, 

Quhat helpis than to wawill or weip ? 

Til this hf cum we neuir agane, 20 

Bot also smal as droppis of rane 

Wan wormys so schill sail all to schow ws, 

And thak it is to lait to sayn, 

Lord, miserere mei, Deus. 

Quhy lufe we than that ilk life 25 

That so htill quhile will lest, 

Sen fathir and mothir, brothir and wife 

And kyn and barnis / that we luf best, 

Fra deid haff drawin ws till his nest. 

Thai ar full fane to fie fra ws ? 30 

And than we think moist treuthfull trest 

To miserere mei, Deus. 

Heirfore me think suld dredand be 

Man and woman and euery wicht ; 

It is na dowt / we mon all dee 35 

For ilk wy a deid is dicht. 

Quhat furtheris it with him to fecht 

Sen fra him / is nane that chowus. 

Prince no paip, my treuth I plicht. 

But miserere mei, Deus? 40 

Than helpis it nocht with him to strife 
Aganis our dede / that we may dreid 
That lichtly may sone downe drif 
This wrechit warld of lynth and breid. 



91 



Ther is no money na no meid 45 

With him may hauld a day of trewus, 
Bot gif we faynd to speke and speid 
With miserere mei, Deus. 

For mercy maid our makir hevin ; 

Mary consawit throw gabriell stevin ; 50 

The suthfast god deit on rude, 

With spere and naHs he bled his blude, 

The gretast grace / that euir yet grew ws ; 

Therfor me think moist f aithfull fude 

Is miserere mei, Deus. ss 

Now crist, that confortis all mankynd, 

Thou lat thi pece spred and spring. 

Oute of this warld, quhen we sail wend 

Sa that na feynd to pane ws bring, 

Bot half in mynd this foresaid thing ; 60 

Jhesu nazareth, king of jewis, 

And heir ws quhen we reid or syng 

Of miserere mei, Deus. 

Explicit. 



HAIL, MARY! 

29. (B a II b i) Digby MS. 2, leaf 6. 

Hayl, mari ! hie am sori : 
haf pite of me, and merci ! 
mi leuedi, to f>e i cri : 
for mi sinnis, dred ham hi, 
wen hi J)enke hat hi sal bi, 

f»at hi haf mis hi-don 
in worde, in worke, in p)oith, foli 

leuedi, her mi bon ! 



92 



Mi bon fu her, leuedi der, 

fat hie aske wit reuful cher ! lo 

}>u len me her, wil hie am fer, 

do penam^ in mi praier ; 

ne let me noth ler, Jjat }>u ber, 

at mi nendin day ; 
}>e worlais, f>ai wil be her, 15 

fort[to] take J?air pray. 

To take f>ar pray, alse hi her say 

))ai er redi, boyt nite and day ; 

so strange er fai, fat we ne may 

A-gaynis paim stond, so way la way, 20 

but f)u gif helpus, mitteful may, 

Wit f)i sunes grace ; 
Wan pu comes, fai flet a-wai ; 

dar ))ai not se f>i face. 

pi face to se, fu grant hit me, 25 

lefdi ful-fillid of pite, 

fat hi may be in loy wit fe, 

to se pi sone in trinite, 

fat sufferid pine, and ded for me 

and for al man-kyn : 30 

his flesse was sprade on rode tre, 

to leysus al of sine. 

Of sine and kar, he maked vs bar. 

Wan he foUid pines sar ; 

to drupe and dar, we athe wel mare, 35 

alse for pe hondis doyt f e har, 

wan we fenke hu we sal far 

wan he sal dem vs alle, 
we sal haf ned[e fan &] fare, 

a-pon mari to calle, &c. 40 



93 



HYMN TO THE VIRGIN 

30. (B a II b 2) MS. 54, D. 5. 14, in Corpus Christi College, Oxford. 

Edi beo pu, heuene quene, 

folkes froure & engles blis, 

moder imwemmed & maiden dene 

swich in world non ofer nis. 

On fe hit is wel ef> sene, S 

Of alia wimmen f u hauest f>et pris. 

mi swete leuedi, her mi bene, 

& reu of me, nf pi wille is. 

pu aste^e so fe dai^ rewe ; 

pe deleS from [dai)] pe deorke nicht. 10 

of the sprong a leome newe 

fat al })is world haueS ili^t. 

nis non maide of fine heowe, 

swo fair, so sschene, so rudi, swo bricht. 

swete leuedi, of me f>u reowe, 15 

& haue merci of fin knicht. 

Spronge blostme of one rote, 

pe hoK gost pe reste upon, 

f et wes for monkunnes bote, 

& heore soule to alesen for on. 20 

Leuedi milde, softe & swote, 

Ic crie pe merci ; ic am f i mon, 

bofe to honde & to fote. 

On alle wise fat ic kon. 

pu ert eorf e to gode sede, 25 

on f e K^te f e heouene deu) ; 
of f e sprong f eo edi blede, 
f e hoH gost hire on f e seu>. 



94 



f>u bring us ut of kare, of drede 

fat Eue bitterliche us breu^ ; 30 

)?u sschalt us in to heouene lede. 

welle swete is pe ilke deu^ ! 

Moder, ful of fewes hende, 

Maide drei^ & wel itaucht, 

ic em in fine loue bende, 35 

& to f>e is al mi draucht. 

fu me sschild ^e from fe feonde, 

ase f>u ert freo, & wilt, & maucht. 

help me to mi Hues ende, 

& make me wiS fin sone isau^t. 40 

pu ert icumen of he^e kunne, 

of dauid f e riche king ; 

nis non maiden under sunne 

fe mei beo fin eueni[n]g. 

ne fat swo derne loui^e kunne, 45 

ne non swo swete of alle f ing. 

f u bring us in to eche wunne, 

i-hered ibeo f u swete f ing ! 

SweteKc ure louerd hit di^te 

fat f u maide wi5-ute were, 50 

fat al f is world bicluppe ne mi^te 

f u sscholdest of fin boseme here. 

fe ne sti^te, ne f e ne pri^te, 

in side, in lende, ne elles where ; 

fat wes wis ful muchel ri^te, 55 

for f u here fine helere. 

fo godes sune ali^te wolde 

on eorf e al for ure sake, 

herre te^en he him nolde 

f ene fat maide to beon his make. 60 



95 



betere ne mi>te he, fai^ he wolde, 
ne swetture fing on eovpe take, 
leuedi, bring us to fine bolde, 
& sschild us from helle wrake. Amen. 



AN ORISON OF OUR LADY 

31. (B a II b 3) Cotton MS. Caligula A ix, leaf 246. 

On hire is al mi Hf ilong, 

Of hwam ich wule singe, 

And herien hire f>er-among, 

Heo gon us bote bringe 

Of helle pine fat is strong, S 

Heo brohte us bhsse fat is long 

Al furh hire chilSinge. 

Ich bidde hire one mi song, 

Heo ^eoue us god endinge, 

pah we don wrong. 10 

pu art hele and Hf and liht, 

And helpest al mon-kunne. 

pu us hauest ful wel idi^t, 

pu ^eue us weole and wunne ; 

pu brohtest dai, and eve ni^t ; 15 

Heo bro)te woht, fu brohtest ri^t ; 

pu almesse and heo sunne. 

Bi-sih to me, lauedi bri^t, 

Hwenne ich schal wende heonne, 

So wel fu miht. 20 

Al f is world schal ago 
Wis seorhe and wi5 sore, 
And al f is lif we schule for-go, 
Ne of-funche hit us so sore. 



96 

pis world nis butent ure ifo, 25 

par-fore ich fenche hirne at-go, 

And do bi godes lore. 

pis Hues bKsse nis wurS a slo ; 

Ich bidde god f>in ore, 

Nu and euere-mo. 30 

To longe ich habbe sot i-beo, 

Wei sore ich me adrede. 

Iluued ich habbe gomen and glee, 

And prude and feire wede. 

Al pat is dweole wel i seo, 35 

par-fore ich f>enche sunne fleo, 

And alle mine sot dede. 

Ich bidde hire to me bi-seo, 

And helpe me and rede, 

pat is so free. 40 

Agult ich habbe, weilawei ! 

Sunful ich am an wrecche. 

Awrec fe nu on me, leuedi, 

Er dep me honne fecche. 

Do nim pe wreche, ich am redi ; 45 

Ofer let me huen and amendi, 

pat no feond me ne drecche. 

For mine sunnes ich am sori ; 

Of f)is world ich ne recche. 

Leuedi, merci 1 Amen. 50 

A SONG TO THE VIRGIN 

32. (B a n b 4) Egerton MS. 613. 

Of on f)at is so fayr and bri^t, 

velud maris stella, 
Bri)ter f>an fe day-is h^t, 

parens et picella. 



97 

Ic crie to f»e, f»ou se to me. s 

Leuedy, preye f>i sone for me, 

tarn pia, 
pat ic mote come to f>e, 

maria 

Of kare conseil fou ert best, lo 

Jelix Jectindata. 
Of alle wety f>ou ert rest, 

mater honorata. 
Bi-sek him wiz milde mod, 
pat for ous alle sad is blod is 

in cruce^ 
pat we moten komen til him 

In luce, 

Al fis world was for-lore, 

emjL peccatrice, 20 

Tyl our lord was y-bore. 

de te genitrice. 
With aue it went a-way, 
puster nyth and comet fe day 

saliitis; 25 

pe welle springet hut of fe 

uirtutis. 

Leuedi; flour of alle fing, 

rosa sine spina, 
pu here ihesu heuene king, 30 

gratia diidna. 
Of alle f)u berst fe pris, 
Leuedi, quene of parays, 

electa, 
Mayde milde, Moder 35 

es efecta. 



98 

Wei he wot he is )>i sone, 

uentre quern portasti. 
He wyl nout werne fe f)i bone, 

paruum quern lactasti. 40 

So hende and so god he his ; 
He hauet brout ous to blis 

supernij 
pat hauez hi-dut fe foule put 

inferni. ■ 45 

Explicit cantus iste. 

NOU SKRINKEp ROSE & LYLIE FLOUR 

33. (B a II b 5) Harl. MS. 2253, fol. 80, a. 

Nou skrinkej) rose & lylie flour, 
fat whilen ber fat suete sauour, 

in somer, f>at suete tyde ; 
ne is no queue so stark ne stour, 
ne no leuedy so bryht in bour, S 

fat ded ne shal by glyde. 
whose wol fleyshlust forgon, 

& heuene bKs abyde, 
on iesu be is f oht anon, 

fat f erled was ys side. 10 

from petres bourh in o morewenyng 
as y me wende omy pley^yng, 

on mi foHe y f ohte ; 
menen y gon my mournyng 
to hire fat ber f e heuene kyng, 15 

of merci hire bysohte : 
Ledy, preye f i sone for ous, 

fat vs duere bohte, 
ant shild vs from f e lof e hous 

fat to f e fend is wrohte. 20 



99 



m>Ti herte of dedes wes for dred 
of s}TLne fat y haue my fleish fed, 

ant f olewed al my tyme ; 
))at y not whider i shal be led, 
when y lygge on def)es bed, 25 

In ioie ore in to pyne. 
on a ledy m}TL hope is, 

moder and \T.rg}Tie ; 
we shulen in to heuene blis 

fnrh hire medicine. 30 

betere is hire medycyn, 
pen eny mede or eny w}^! ; 

hire erbes smullef) suete ; 
from catenas in to d\nielyn 
nis fer no leche so fyn, 35 

onre serewes to bete ; 
mon ))at felef* eni sor, 

& his foHe wol lete, 
wif> oute gold of>er eny tresor, 

he mai be sound ant sete. 40 

of penaimce is hir piastre al, 
ant euer seruen hire y shal 

nou & al my h-ue ; 
nou is fre })at er wes fral, 
al f ourh Jjat leuedy gent & smal ; 45 

heried be hyr ioies fyue ! 
wher so eny sek ys, 

f>ider hye bl>Tie ; 
puih. hire beof) ybroht to bHs 

bo maiden ant w^nie. 50 

for he pat dude is body on tre 
of oure sunnes haue piete, 

pat weldes heouene boures ! 
wymmon wip pi iol}'fte. 



100 

f)OU fench on godes shoures ; 55 

fah pou be whyt & bryht on ble, 

falewen shule f>y floures. 
lesu, haue merci of vs, 

f>at al f)is world honoures. 

Amen. 60 

THE BEST SONG AS HIT SEMETH ME 

34. (B a II c i) Add. MS. 5665. 

The best song as hit semeth me 
peccantem me cotidie. 

While y was yong and hadde carage 

I wolde play with grome and page, 

But now y am ffalle in to age 5 

Timor mortis conturbat me. 

Yowthe ys now ffro me agon, 
and age ys come me vpon. 
Now shall y say and pray anon, 

parce michi, domine. 10 

I pray god y can no more ; 
f>ou bozsteste me with wondes sore ; 
To thy mercy thow me restore, 
saluum mefac, domine. 

EVERE MORE, WHERE SO EUER I BE 

35. (B a II c 2) Bodl. MS. Engl. Poet. e. i. 

Evere more, where so euer I be 
The dred of deth do troble me. 

As I went me fore to solase, 
I hard a mane sygh[e] & sey : alase, 
Off me now thus stond the case, 5 

ye dred of [deth do trobyll me !] 



101 



I haue be lorde of towr & towne, 
I sett not be my grett renowne, 
ffor deth wyll pluck [yt] all downe ! 
ye dred of deth do trobyll me I lo 

Whan I shal deye I ame not suere, 
In what countre or in what howere, 
Where fore I sobbjnig sey to my power : 
ye dred of deth do trohle me! 

Whan my sowle & my body departyd shallbe, 15 

Of my Jugment, no man cane tell me ! 
Nor of my place wher yat I shal be : 
yerjore dred oj deth do trohle me I 

Jhesu cryst whan yat he shuld sofer hys passyon, 
To hys fader he seyd with gret deuocyon, 20 

Thys is ye causse of my intercessyon : 
ye dred of deth do trohle me I 

Al crysten pepuU, be ye wysse & ware, 
Thys world is butt a chery ffare, 
Replett with sorow & fulfyllyd with care ! 25 

yerjore ye dred oj deth do trohle ms I 

Wheyer yat I be mery or good wyne drynk, 
Whan yat I do on my last daye thynk, 
It mak my sowle & body to schrynke, 
fore ye dred oj deth sore trohle me I 30 

Jhesu vs graunt hyme so to honowr, 
That at owr end he may be owr socowr, 
And kepe vs fro ye fendes powr, 
for yan dred of deth shal not trohle me! 



102 



IN WHAT ESTATE SO EUER I BE 

36. (B a II c 3) Bodl. MS. Engl. Poet. e. i. 

In what estate so euer I be 
Timor mortis conturhat me. 

As I went in a mery mornyng, 
I hard a byrd boye wep & syng, 
Thys was ye tenowr of her talkyng : 5 

timor, &'c. 

I asked yat byrd what sche ment, 
I am a musket boye fayer & gent, 
for dred of deth I am al schent : 

timor, ^c. 10 

Whan I schal dey I know no day, 
what countre or place I can not sey, 
wherf or yis song syng I may : 
timor, ^c. 

Jhesu cryst whane he schuld dey, 15 

to hys fader he gan sey : 
fader, he sayd, in trinyte, 

timor, b'c. 

All crysten pepull behold & se, 

yis world is but a vanyte, 20 

& replet with necessyte, 

timor, [&*c] 

Wak I or sclep, ete or drynke, 
whan I on my last end do thynk, 
for grete fer my sowle do shrynke, 25 

timor, &€. 



103 



God graunte vs grace hym for to serue, 
& be at owr end whan we sterue, 
& frome ye fynd he vs preserue ! 

timor, b'c. 30 

ALAS, MY HART WILL BREK IN THRE 

37. (B a II c 4) Balliol MS. 354. 

Alas, my hart wil brek in thre ) . 
Terribilis mors conturbat me. ( 

Ilia iuventus that is so nyse 
me deduxit in to va>Ti Devise, 

Infirmus sum, I may not Rise. 5 

terribilis 7nors conturbat me. 

Dum iuv[enis] fui lytill I dred, 
Se[d] semper in sinni[s] I ete my bred, 
lam ductus sum in to my bed, 

terribilis mors [conturbat me]. 10 

Corpus migrat in my sowle, 
Respicit demon in his Rowle, 
Desiderat ipse to haue his toUe, 

terribilis mors [conturbat me]. 

Christus se ipsum, whan he shuld dye, 15 

Patri suo his manhode did Crye : 
Respice me, pater, that is so hye, 

terribilis mors [conturbat me]. 

Quaeso lam, the trynyte 

Due me from this vanyte, 20 

In Celum ther is Joy with the ! 

terribilis mors conturbat me. 
Explicit. 



104 

TIMOR MORTIS CONTURBAT ME 

38. (Ballcs) Harl. MS. 2255. 

fol. 128^ So as I lay this othir nyght 

In my bed, tournyng vp so don, 

Whan phehus with his beemys bryght 

Entryd the signe of the lyon, 

I gan remembre with Inne my reson 5 

Vpon wourldly mutabiUte, 

And to recoorde wel this lesson : 

Timor mortis conturhat me. 

fol. 129 I thoughte pleynly in my devise, 

And gan considre in myn entent, 10 

how Adam whyloom in paradise 

Desceyved was of a fals serpent" 

to breke goddys comandement, 

Wheer thorugh al his posteryte 

lernyd by short avisement : 15 

Tymor mortis conturhat me. 

ffor styng of an appyl smal 

he was exyled froom that place ; 

Sathan maade hym to haue a falle. 

To lese his fortune and grace ; ao 

And froom that gardeyn hym enchace 

ffulle ferre froom his felicite, 

And thanne this song gan hym manace : 

Timor mortis conturhat me. 

And had nought been his greet offence, 25 

And this greet transgression ; 

And also, his inobedience 

Of malice and of presumpcion ; 



b 



105 



Gyf credence agayn al reson 

To the Develys iniquite ; 30 

We had knowe no condicion 

0/ timor mortis conturbat me. 



fol. 129 This lastyd forth al the age ; 
ther was noon othir remedye ; 
The venym myght nevir a swage 35 

Whoos poyson sprong out of envye, 
OiBf pryde, veynglorye, and surquedye ; 
And lastyng til tyme of Noye, 
And he stood eek in lupartye 
Of timor mortis conturbat me, 40 

ffroom our ioxnjffadir this venym cam, 

ffyndyng nevir noon obstacle, 

Melchisedech nor of Abraham, 

Ageyn this poyson by noon pyacle ; 

but of his seed ther sprang tryacle, — 45 

fiigure of Isaak, ye may rede and see, 

Restoore to lyff by hih myracle, 

Whan timor mortis conturbat me. 

Moyses with his face bryght. 

Which cleer as ony sunne shoon ; 50 

Josue, that was so good a knyght, 

that heng the kynges of Gabaoon; 

Nor the noble myghty Gedeoon; 

had no poweer nor no powste 

ffor ther ffamous hih renon 55 

Agayn timor mortis conturbat me. 

fol. 130 Sampson that rent the Hon 

On pecis smale thus stood the caas ; 

For dauid that slowh the champyon, — 

I meene the myghty greet Golias; 60 



106 L. 

Nor machabeus, the strong ludas, — 
Ther fatal ende whoo so lyst see, — 
bothe of Cymon and lonathas 
Was timor mortis conturhat me. 

In the Apocalips of Seyn lohuj — 65 

The chapitlys whoo so can devyde, — 

the apoostyl thoughte that he sawh Oon 

Vpon a paale hors did ryde 

that poweer hadde on euery syde ; 

his name was deth thorugh cruelte ; 70 

his strook whoo so that durste abyde 

Was timor mortis conturhat me, 

Rekne alle the wourthy nyne; 

And these Olde Conquerours ; 

Deth them made echoon to fyne, 75 

And with his dedly mortal shours 

Abatyd hath ther fressh flours, 

And cast hem don froom hih degree ; 

And eek these myghty Empours 

Seith timor mortis conturhat me. 80 

fol. 130^ These ladyes that were so fressh of face, 
And of bewte moost souereyn : 
Ester, ludith, and eek Candace, 
Alceste, dido, and fayr Eleyne, 
And eek the goodly wywes tweyne 85 

Maroya and penelope 
Were embracyd in the cheyne 
Of timor mortis conturhat me. 

What may a\\e wourldly good avaylle, — 
Strengthe, konnyng and rychesse ? 90 

For victorye in bataylle, 
ffame, conquest, nor hardynesse, 



107 



kyngdawmys to wynne or oppresse, 

Youthe, helthe nor prosperyte : 

All this hath here no sykirnesse 95 

Ageyn timor mortis conturhat me. 

Whan youthe hath doon his passage, 

And lusty yeerys been agoon, 

Thanne folwith afftir crookyd age, 

Slak skyn and many a wery boon ; 100 

The suwne is dirk that whyloom shoon 

Of lusty youthe and fressch bewte ; 

Whan othir socour is ther noon. 

But timor mortis conturhat me. 

fol. 131 In August whan the levys falle, 105 

Wyntir folwith afftir soone 
The grene of somyr doth appalle. 
the wourld is changeable as the moone; 
Than is there no moore to doone 
But providence in ech degree no 

Of recure whan ther is no boone 
Saaff timor mortis conturhat me. 

Ech man be war and wys beforn, 

Or sodeyn deth come hym to saylle ; 

ffor there was nevir so myghty born, 115 

Armyd in platys nor in maylle, 

That whan deth doth hym assaylle 

hath of diffence no liberte 

to thynke a fore what myght avaylle 

On timor mortis conturhat me. 120 

Empreente this mateer in your mynde, 
And remembre wel on this lesson : 
Al wourldly good shal leve be hynde, 
Tresour and greet pocession. 



108 



Iwe sodeyn transmutacion 125 

ther may no bettir socour be 
Thanne ofte thynke on cristes passion 
Whan timor mortis conturbat me. 



PATER NOSTER IN ANGLICO 

39. (B /? I a i) Harl. MS. 3724, fol. 44. 

Ure fader in hevene riche, 

pi name be haKid ever i-liche ; 

pu bringe us to ]>\ michil blisce, 

pi wille to wirche f>u us wisse, 

Als hit is in hevene i-do 

Ever in eor))e ben it al so ; 

pat hoU bred fat we lestef ay 

pu send hit ous fis ilke day ; 

Forgive ous alle fat we havif don, 

Als we f orgivet uch of>ir man ; 

Ne lete us falle in no fondinge, 

Ak scilde us fro fe foule finge. Amen. 

PATER NOSTER 

40. (B /? I a 2) Rawlinson MS. B 408. 

Pater noster, qui es in celis, sanctificetur nomen tuum 

Oure fader in heuen halowed be fi name, 

As Ihesus fi sone taw t us to say : 
Kepe us f>i children from synne and blame, 
That we ben saued at oure laste day. 
Thi name in us halowed be may 

Iff we make clene oure tempil with-ynne. 
Now kepe us, fader, fro deedly synne. 



109 



Adueniat regnum tuum 

Fader, )?i kyngdom late come to us, 

That we may come and dwelle with the : 
Thy Sonne, oure bro)?er, and oure lorde, ihesus, lo 
Bought us fat kyngdome on f>e rode tre. 
Now, for his loue fat dyed for me. 
And hath oure flessh fere in his region, 
Lete me come aftur with true confession. 

Fiat uoluntas tua, sicut in celo, & in terra 

Fader, fi wille late euer be done, 15 

With us in erthe, as it is in heuen : 
And as ofte as we make any transgression, 
The werkes of mercy late helpe us seuen 
In oure a-countes fat we stande euen, 

So fat f i wil fulfilled may be 20 

With feyth and hope and trew charite. 

Panem nostrum cotidianum da nobis hodie 

Geue us f is day oure euery dayes brede, 

Oure bodily sustynaunce and gostely also, 
That whef er we be a-lyue or dede 

Oure gostely fode with us may go 25 

To make us stronge a-^enst oure fo, 
Euer vpon us fat lythe in a-wayte 
To take fi children with hokes and bayte. 

Et dimitte nobis debita nostra sicut b' nos dimittimus debitoribus 

nostris 

And also, fader, fore^ue oure dettes, 

To al oure dettours as we for>eue ; 30 

And when oure enemye wil caste his nettes 

To cacche fi children, >eue hym no leue. 

SufTre us neuer f e for to greue, 



110 



For^euyng al )>at ys done before ; 

And grawnt us grace to greue )>e nomore. 35 

Et ne nos inducas in temptacionem 

And lede us not, fader, in-to temptacion, 

Ne suffre us neuer to falle )?er-ynne. 
The f ende bryngeth us f als delectacion ; 
Our flessh is redy euer to synne ; 
The worlde is besy us for to blynne. 40 

When f)er temptaciones meueth our entent, 
Suffer us neuer to graunt nor consent. 

Sed libera nos a malo 

But, fader, delyuer us from al ylle 

Thorgh fese peticiouns fat ihesus ys taught, 
And suffre oure sowles neuer to spylle 4S 

For whom ]>i sone so manly hath faught. 
And in oure batayle ^if we be caught 

Raunsom us, fader, with mercy and grace, 
And bryng us al to f)i blisful place. Amen. 

HYMN TO GOD 

41. (B )8 1 a 3) Corpus MS. 54, D. 5. 14. 

Hit bilimpeS forte speke, to reden, & to singe 
Of him f)e no mon mai at reke, king of alle kinge. 
He mai binde & to breke ; he mai bhsse bringe ; 
He mai luke & unsteke michte of al finge. 

Vroure & hele folkes, fader heouenliche drichte, s 

Alle ()ing fet is & was, is on fine michte ; 
)?u ^ifst fe sunne to the dai^, fe mone to fe nichte, 
fine strengf e non ne mai telle, ne fin michte. 



Ill 



Iherd ^e beo fin holi nome in heouene & in eor)?e. 
pu sscope eld & wind & water, ]>e molde is fet feorfe. lo 
Of wham we alle imaked beoS, pat is pe holi eorfe. 
pu pe wost al ure foucht ; louerd, drau> us neor fe. 

Fader & sune & holi gost, on god in frimnesse, 

inne pe nis lac ne lest au^ alle hoKnesse. 

Vre neode wel fu wost, & ure unkunnesse. 15 

in fine hond is michte mest, louerd, J?u vs blesce. 

Let vs, louerd, comen among fin holi kineriche. 

ihesu crist, fin elpi sune, f e is f e seolf ihche ; 

he vs bouchte wi5 his blod of f e feondes swiche, 

& of bitter helle fur, & of f e fule smiche. 20 

Al swo is in heouene he) in eorf e beo fin -^^lle ; 

hoK drichte, swete & dre^ in heldes & in hulle ; 

ne let f u neure cumen vs ne) f ene feond f e is swo ille, 

Ach bind him honden, fet, & f e), & let him ligge stille. 

Vre da) wuneKch bred, louerd, fu vs sende, 25 

fat bred of hele & of Hf , ihesu crist f e hende. 
fat bred f e monkun haueS ibroucht ut of feondes bende. 
he beo vre help & ure red to ure Hues ende. 

Fader, for )if vs ure gult, & eke alle ure sunne ; 

Al swo we do5 fe us habbeS igruld to freomede & to 

kunne ; 30 

bring us ut of worldes wo in to alle wimne, 
for her beo6 werkes swiSe unwreste, & fewes swife 

funne. 

Bring us ut of wo & kare & of feondes fondinge ; 
wicke is here ure fare & ure wuni)inge ; 
mid wicke speche & false sware & mid lesinge 35 

f u art hele & help & lif & king of alle kinge. 



112 



HEYL, LEVEDY, SE-STOERRE BRYHT 

42. (B /? I a 4) Porkington MS. No. 10. . 

Heyl, levedy, se-stoerre bryht, 

Godes moder, edy wyht, 

Mayden ever vurst and late ; 

Of heveneriche sely ^ate, 

Thylk ave thai thow vonge in spel, 5 

Of the aimgeles mouheth kald Gabriel, 

In gryht ous sette, and shyld vrom shome, 

That turnst abakward Eves nome ; 

Gulty monnes bond unbynd ; 

Bryng lyht tyl hoem that boeth blynd ; 10 

Put vrom ous oure sunne, 

And ern ous elle wynne. 

Shou that thou art moder one, 

And he vor the take oure bone ; 

That vor ous thy chyld by-com, 15 

And of the oure kunde nom. 

Mayde one thou were myd chylde, 

Among aUe so mylde. 

Of sunne ous quite on haste, 

And make ous meoke and chaste ; 20 

Lyf thou ^yf ous clene ; 

Wey syker ous >arke and lene, 

That we Jesus y-soe. 

And ever blythe boe ! 
To the vader, Cryst, and to the Holy Gost, beo thonk and 
heryinge, 25 

To threo persones and God, o menske and worshypinge ! 

A PRAYER TO THE VIRGIN MARY 

43. (B /? I a 5) Vernon MS. fol. 407. 

Ave Maris stella, dei Mater Alma, 
Atque semper virgo,felix cell porta. 



113 

Heil, sterre of pe See so briht ! 

pow graunt vs to ben vr gyde ; 
Godes holi Moder riht, 

pi worschipe walkej? wyde ; 
Al-wey Mayden fjorw his miht, $ 

pow sittest bi his syde ; 
Blesset ^ate of heuene liht, 
pow rede vs riht to ryde ! 
Ladi, we ben maked al glad : 

ffor })ou weore meoke I-founde, lo 

Godes Moder weore f>ou mad, 
I-Blesset beo |)at stounde ! 

Liknet artou to sterre of see, 

To lihten vs, grete and smale ; 
Godes Moder ay to be 15 

ffor vs f>ou telle vr tale ; 
ffor pi Maydenhod so fre, 

pou bring vs out of bale ; 
Help us in-to heuene fle 

Out of )?is wopes dale. 20 

Ladi, bring vs out of wo ! 

ffrom Bales f>ou vs borwe ! 
Godes Moder and Mayden also, 
pou saue vs out of sorwe ! 

Sumens illud Aue Gahrielis ore, 

funda nos in pace, mutans nnmen eiAC, 
Takyng fat word Aue — 

pat sonde sat f>e seete — 25 

Of Gabriels mou)? so fre, 

porw God he gon f>e grete. 
Prei for us in pes to be, 

WiJ? murines mo to meete; 30 

Eues name i-tornd for )?e 

pat sit us softe and swete. 



114 



Ladi blisful, Meoke and Mylde, 

pat word in loye us pultus ; 
Godes Moder, prei pi childe 35 

pat he for-)iue vr gultus. 

Aue worfily fe fel, 

pat was fe parked >ore 
Of pat Angel Gabriel, 

porw }iit of Godes lore. 40 

Prey us pes, per to be snel, 
pou salue us of vr sore ; 
Sif> {>at Eue is tornd so well, 
Vr blisse is wel f)e more. 

Ladi, qween of paradys, 45 

To f>e we schuUen calle, 
Godes Moder, wommon wys, 
And Mekest most of alle. 

Solue vincla rets, profer lumen cecis, 

mala nostra pelle, bona cuncta posce. 
Gulti bondes here vnbynd, 

Vr gultes ben to fele ; 50 

Seend hem siht fat here aren blynd, 

pou bring vs to f>i wele ; 
Put a-wey vr wikked wynt, 

Vr synful lyf pou heele ; 
Alle goodes aske and grynt, 55 

And sent vs of ))at Meole. 
Ladi, nou ))at hit is f>us, 

Help we weore vnbounde ; 
Godes Moder, prei for vs 
To him wif> blodi wounde. 60 

We han agult, vnbynd us here, 
'' Wif Merci fond vs fede ; 
Send pe blynde, lokyng clere. 
To hele us here tak hede ; 



115 



Put a-wei vr wik in weere, 65 

pat dof> us dri^e and drede ; 
Aske us God wif>-outen peere, 
, pat holliche heuene meede. 
Laydi, nou ]>m help a-non, 

per of fat we ne f ayle ; 70 

Godes Moder, a-^ein vr fon 
pou most be Countur tayle. 

Monstra te esse matrem, sumat par te precem 

qui pro nobis natus tulit esse tuus. 
Scheuh fat Moder art, enclyn 

To him fat dy^ed on Roode ; 
He, forw? fe, tak preyer myn, 75 

pat bou^t us wif his bloode ; 
Boren for us was he so fyn, 
Hit com al vs to goode ; 
He bi-com heere sone fyn, 

pi Milk fen was his foode. 80 

Godus Modur, f ou him beere, 

pi Milk nas non Ilyche, 
Ladi, him to fostren heere ; 
pat Burf e was ful riche. 

Modur, scheuh fat f ou art fre ; 85 

pe may no murf e misse ; 
Do fat we ben herd f orw f e, 

pou bring us to f i bHsse. 
I-boren for us forsof e was he, 

pe synful men to wisse, 90 

He fat tok f i child to be, 
pi Mouf wif his to kisse. 
Ladi briht, wif ei^en gray. 

Such cos f ou geete with winne ; 
Godus Modur, Niht and day 95 

pou help vs out of sinne. 



116 



Virgo singularis, inter omnes mitis, 

nos culpis solutos mites fac 6* castos. 
One, peereles Maide now, 

pin help adoun fou seende ; 
A-mong vchone, Meoke artou, 

A^e)ni fe we ben vn-heende ; loo 

Sinne bond vs, f>ow wost hou, 
pis world vs wol a-bleende ; 
Make vs meoke, cast in a vou 
In-to vr lyues ende. 

Ladi, bring vs out of strif, 105 

Vs geynef nouht to ^elpe ; 
Godus Modur, al vr lyf 
We spillen, bote fou helpe. 

Mayden al-one, buyrde briht, 

Wei brihtor fen fe Sonne ; no 

Mekest Mayden, most of miht, 

Vr gatus f>ou bi-gonne ; 
Sinne bond vs day and niht. 
We spillen fat we sponne : 
Mak vs meke and clene in siht, 115 

pen is vr game I-wonne. 
Ladi, lene vs of f>i liht, 

ffor ^it we ben to blynde ; 
Godes modur, send vs miht, 
pe rihte wei to wende. 120 

Vitam presta puram, iter para tutum, 

Vt videntes Ihesum semper colletemur. 
And leen vs clene lyf also, 

pis lyf is serwe and sake ; 
Diht vs siker wei to go, 

pis sunful lyf Jjou slake ; 



117 



Get vs Ihesus to seo fer-to, las 

porw siht of him to a-wake, 
Vs to gladschupe euer-mo, 
pin help vs fou by- take. 
Ladi louelich, feir and fre, 

pou lilye whyt of face, 130 

Godus Moder briht of ble, 
We tristen to J)i grace. 

Clene lyf }ii vs to-day, 

And forpward eiier-more, 
Greif) vs here a syker way ; 135 

We stomble of te and sore ; 
Siht of Ihesu, wel pou may, 

^if hit f)i wille wore, 
porw f>at siht to glade vs ay, 

So lyking is fi lore. 140 

Ladi al in liht I-schrud, 

peos wordes ben ful sofe ; 
Godus Modur, Qween I-kud, 
Tak fi seruauns to J)e. 



COME, SHUPPERE, HOLY GOST 

44. (B /? I a 6) Porkington MS. No. 10. 

Come, shuppere, Holy Gost, of feth oure thouhtes 

Vul wyth grace of hevene, heortes that thou wrouhtest ; 

Thou that art cleped vorspekere, and }yit vrom God y-send, 

Weolle of lyf vur charite and gostlych oynement. 

Thou )yfst the sevene ^yftes, thou vinger of Godes honde, 

Thou makes t tonge of vles^e speke leodene of uche londe, 

Send lyht in oure wyttes, in oure heortes love ; 

Ther oure body is leothe-wok, ^yf strengthe vrom above ; 



118 



Shyld ous vrom the veonde, and ^yf ous gryth anon, 
That woe wyten ous vrom sunne thorou the lodesmon. 
Of the vader and the sone thou ^yf ous knoulechinge, 
To leve that vel of in bothe thou ever boe woninge. 
Woele to the vader, and to the sone that vrom deth aros, 
And also thes Holy Gost ever worshipe and los. 

A PRAYER FOR GRACE 

45. (B )8 I a 7) Brit. Mus. Royal MS. 17 B. XVII. 

Ihesu myne, graunte me f>i grace, 
and of amendment might & space, 
pi word to kepe & do f>i wille, 
f>o gode to chese & leeue )?o ille, 
and fat hit so may be, 
Gode ihesu, graunt hit me. Amen. 

TO pE GUDE ANGELL 

46. (B /i? I a 8) BaUiol MS. 354. 

angell dere, wher-euer I goo. 

Me that am corny tted to thyne awarde, 

Saue, defende, & govern also, 
That in hewyn with the be my reward ! 

Clense my sowle from syn )?at I haue do, 
& vertuosly me wysse to godward ! 

Shyld me from f>e fende evermo, 
& fro the paynes of hell so hard ! 

thou cumly angell, so gud & clere, 

pat ever art abydyng with me ! 
Thowgh I may nother the se nor here. 

Yet devoutely with trist I pray to the. 



119 



My body & sowle thou kepe in fere, 

With soden deth departid pat they not be ! 

For fat ys thyn offes, both fere & nere, 15 

In every place wher ever I be. 

blessid angell, to me so dere, 

Messangere of God Almyght, 
Govern my dedis & thowght in fere, 

To fe plesaunce of God, both day & nyght ! 20 
Explicit. 



A RESOLVE TO REFORM 

47. (B ;8 II a i) Digby MS. 2, leaf 15. 

No more willi wiked be ; 
Forsake ich wille )?is world-is fe, 
f>is wildis wodis, fis folen gle ; 

ich wul be mild of chere : 
of cnottis seal mi girdil be, 5 

becomme[n] ich wil frere. 

Frer menur i wil me make, 
and lecherie i wille asake ; 
to ihesu crist ich wil me take, 

and serue in holi churche, 10 

all in mi ouris for to wake, 

goddis wille to wurche. 

Wurche i wille f>is workes gode, 

for him f>at boyht us in f>e rode ; 

from his side ran fe blode ; 15 

so dere he gan vs bie : 
for sothe i tel him mor fan wode, 

fat hay tit licherie. 



120 



A MORNING THANKSGIVING AND PRAYER TO GOD 

48. (B/8IIbi) "- Vernon MS. 

I J)onke }>e, lord god, ful of miht, 
Wif al fat euer I con & may, 
pat hast me sauet fis like niht, 

And suffret me forto abyde pis day. 

I-blesset be fou euer & ay, 5 

And halewed be fin hy^e name ; 

And worschypet be f>ou, lord, al-way, 

Wif hy)e & lowe, wylde & tame. 

In fe name of god fat al fing wrou^th, 

Heuen & erf e and vche creature ; 10 

In f e name of ihesu fat me dere bou^th, 
pat is god, godus sone so pure ; 
pe holygost, god in o figure, 

To f e, o god in persones f re, 
I be-take fis day of me cure, 15 

And wif f i tokene I marke me : 
In nomine patris ^ filij &" spiritus sancti, Amen, 

Pater noster. Aue maria. Et Credo. 

Lord god, fat fis day woldust make, 

And schope me to lyue f er-ynne. 
My body & soule I f e be-take. 
pis day, lord, kep me out of synne, 20 

Wif trouf e fis day my lyflode to wynne. 

So fat I do f e non offens, 
ffrom f i lawe fat I ne twynne, 
Ne breke f i ten commaundementes. 

Lord god Ihesu, as f ou were boren in a dawynge, 25 

Of a virgyne pure & clene, 
Kepe me, lord, fis morewenynge, 

pis day in dedly synne fat I not byn lene, 



121 



ffor wyninge of erfelyche godus : 

ffrom flessch[ly] lustus & lykynge, 30 

Kepe me, lord, wij) pi pressyos blod, 

ffrom temptacions of pe fende. 

And as |)ou were turmentud sore 

In fat selue tyde of niht, 
Wif> bobbyng, scorny[n]ge & wel more, 35 

ffort hit were dayes light 

[ ight] 

Sende me f>is day do sum good dede 
In lettyng wrong & doyng riht, 

pat f>ou, lord, mouwe quyte me my mede. 40 

As povL were lord, when hit was day, 

Ofte examnet wif wordus grete, 
Wif> bysschopes of ful gret aray, 

Wif> proude prynces f>at fe con frete, 

Sende me }>is day drynk & mete, 45 

And susteyne me in pi seruise ; 
^if I be mys-hap, lord, f>e fo[r]^ete, 
porw J?e, lord, let me aryse ! 

Lord, I be-take pe my fiue wyttes : 

Myn y>en, fat I synge not in sy^th. 50 

Lord, my mouth open hit in f)i werkes, 
per-wif> fat I may speke trufe & ri^th. 
Myn heryng, lord god, dele & dy^h 

To here nofing a^eyn f i wille ; 
My nese, lord ihesu, ful of my^th, 55 

Kepe hit fat I non vuel smel. 

Lord, kep & lede my feet also 

pat heo don f i seruyse, 
pat with hem I not mys go. 

Myn honden, lord, kep on alle wyse, 60 



122 

And set hem, lord, in such asyse 
pat I, [o] lord, with hem not synne ; 

And ^if I do, lord, let me aryse, 
And let me not longe lygge ])erynne. 

pey^ I haue syngut her-be-fore, 65 

Let me not for-garte fi grace. 
I crye )?e mercy, lord, euer more ; 

Of amendement, lord, sende sum space, 
And sende my soule for my trespace. 

penke, lord, I am fi creature, 70 

And sende me, lord, help now in fis cas 
pi mercy out ouer al mesure. 

Lord, wharto woldust vengaunce take 

On me fat ^elde me fus gulty? 
I may not amendus make, 75 

But put me holly in fi mercy, 
And for my synne I am sorye : 

penk, of my self no my^th I haue ; 
But f>ou me help, in synne I dye : 

pi grace, mercy, lord, may me saue. 80 

My soule, my body, lord god ihesu, 

I now by-take in fi kepynge : 
Kepe me, lord, in;{>i vertu. 

In al my werk & al my worchynge. 

In pi nome be al my doynge ! 85 

In fe nome of Ihesu I be-gynne : 
Lord god ihesu al weldynge, 

pis day kepe me out of synne ! Amen ! 

AN ORISOUN TO GOD 

49. (B/?IIb2) Vernon MS. 

Lord, my God al Merciable, 
I pe bi-seche wif herte stable 



123 



pat I mouwe euere wilne ))at f>ing 

pat most may beo to py lykyng, 

And wysliche folewen euere f)i wille, 5 

Sikerliche knowen and folfulle 

pe louereden of f>i nome and blis, 

Mi Stat ordeynen as f>i wille is. 

Al f)in askyng and pi wille 

Euere do me, lord, folfille ; 10 

As me may most in soule nede 

pi wissynge help to spede. 

Mi wei to fe beo siker and riht. 

And harde i-fastnet wif f)i miht, 

pat I in weole pe fonke so 15 

And euere beo pacient in wo, 

pat I falle ne neuer mo 

In noupur of hem bof>e two ; 

Ne pat I neuere glad ne be 

But in ping pat lykep pe, 20 

Ne serwe neuere bote for ping 

pat torne pe to mis-lykyng, 

Ne pat I neuere desire to plesen 

No mon falsliche ne displesen 

Bote pe, deore lord, al-one, 25 

ffor no drede of monnes mone. 

Al erpliche ping beo vyl to me, 

Lord, for pe loue of pe, 

And alle pinges pat pyne be 

Leof and deore mak hem me, 30 

And pou al-one, Almihti kyng, 

Out and ouer al opur pyng 

Euer beo most in my lykyng. 

And wip me derworpest ouer alle ping. 

Alle loyes beo nuyous to me 35 

pat ben, lord, wip-outen pe. 

In alle trauayles pat ben for pe 



124 



Euer-more al my lykyng be. 

Restes alle fat ne ben in pe, 

Anuy and trauayle beo fei to me. 40 

Euere myn herte to fe J?ou dresse, 

Mi sunne to clanse wif) serefulnesse. 

Boxum me make wijp-oute feyning, 
And glad wiJ)-outen ryotyng, 
Serwhful wif-outen f>at luf>er last 45 

To maken of my-self out-cast, 
Meur wif>-outen greuoushed, 
And Murie wiJ)-outen wyldehed, 
Sof) wif>-outen falshed 

Or eny of>ur doublehed 5° 

Of fikel word wif> double entente 
To bleenden pat f>e sawe mente, 
Dredful wif-outen wonhope ; 
And trust wif-outen ouer-hope ; 
Min euencristne to vndurnyme so 55 

pat f>er ne beo no feynyng to, 
And wi))-outen eny pruyde 
Hem to edefyen in alle tyde. 
In word, ensaumple, and in dede, 
To alle gode from alle quede ; 60 

Vmble wif)-outen ^ein-siggyng, 
Suffraunt wif>-outen grucchyng. 
Waker herte ^if f)ou me, 
Euere, lord, a-bouten pe, * 

pat neuer non of>ur curiousete 65 

Ne led my herte fromward fe. 
^if me herte so noble and fre 
pat no fals loue hit drawe fro fe. 
^if me herte fat neuermore fayle, 
Ne bi conqueret in no trauayle. 70 

ffreo herte, lord, ^if me wif wynne, 
pat vuel delyt naue kalange Inne. 



125 

Rihtful herte ^if me also 

pat no wrong wit ne enclyne to. 

Lord, ffadur of alle Merci, 75 

I f e bi -seche hertely 

Cunnynge, pe to knowe ariht 

Wif bisi sechinge day and niht, 

Wif> fat I kunne fynde, 

Mi fewes in pi lykyng bynde ; 80 

Perseueraunce pe to abyde, 

^if me, lord, in vche a tyde, 

Wi)? hope trewe and studefast 

pat pQ, lord, ay bi-cluppe fast ; 

porwh penaunce f)at I mowe do 85 

pi pyneful [l]yf mowe lykne to ; 

And whil me lastej? lyues space, 

Gode werkes vsen f)orwh f>i grace, 

pyne loyes vsen and wi]^ pe wone 

In f>i glorie, wif> ffadur & sone. Amen. 90 

MANE NOBISCUM, DOMINE ! 

(50. B /? II b 3) Vernon MS. 

In Somer bi-fore pe Ascenciun 
At Euensong on a Sonundai 
Dwellyng in my deuociun 
ffor pQ pees fast gon I prai : 
I herde a Reson to my pai, 5 

pat writen was with wordes fre, 
And f)us hit is, schortly to say : 
Mane nohiscum, dominef 

What ))is word is forte mene 

On Englisch tonge, I schal >ou telle : 10 

In Concience and we be clene, 

Digne f>i, lord, with vs to dwelle, — 



126 



pe feondes pouste for to felle, — 

pat for vs di^ede vppon ]>& tre ; 
In wit and worschipe, wei and welle, 15 

Mane nobiscum, domine! 

Whon fou from deth was risen and gon, 

pen as a Palmere for)? gon pas, 
po met fou pilgrimes makyng moon, 

But ^it pei wust neuer who fou was. 20 

pus fen Carpes Cleophas : 

pe Niht is neih as we may se, 
pe liht of fe dai is waxen las : 
Mane nobiscum^ domine! 

Dwelle with vs, vr fader dere, 25 

pi bidyng is in heuene-blis. 
And euure fi name be halewed here. 
pi kjmgdom let vs neuere mis. 
In heuene f>i wille folfuld is, 

And heere in eorJ>e ))at hit so be ! 30 

pe Rihtwys weyes ^e wolde vs wis, 
Mane nobiscum, domine! 

Vr bred, vr vche dayes foode, 
Drihten deore, fou vs diht. 
Vr dette, God fat is so goode, 35 

ffor-^iue vs for f>i muchele miht. 
As we schul heom wif> herte liht 
pat in vr dette or daunger be. 
Leste we Rule vs not a-riht. 

Mane nobiscum, domine! 40 

Dwelle wi|? vs, lord, leste we haue teene, 

Lede us to no temptacion. 
In eny synne >if we beo seene, 

We prey fe of Merci and pardoun ; 



127 



WiJ? al pe Mekenes f)at we moun, 45 

We schal crye, knelyng on kne : 
Vppon bere whon we beo boun, 

Mane nobiscum, dominel 

Lord, dwelle with vs in al ur neode ; 

Wij>-outen f>e we haue no miht, 5° 

Vr hondes vp til vr hed to beode, 
Wit nor weole sauere)? no siht. 
In eny caas }\i we ben cliht, 

We con not but we crie to fe, 
In al vr neode bo))e day and niht, 55 

Mane nobiscum, dominel 

Ho dwelle)? wi)) fe, far haue no doute 

ffor no synne ne sodeyn chaunce. 
But ay fe fend is fast aboute 

To putte vs, lord, fro ]>\ plesaunce ; 60 

Whon we beof> out of gouernaunce, 
Vr flesch is frele, we can not fie : 
Keep us out of al cumbraunce, 
Mane nobiscum, dominel 

Dwelle wi)) vs, lord of loue and pes, 65 

And make f>i wonynge vs wif-inne, 
In Charite fat we encres. 

And kep vs out of dedly synne ; 
Torn neuer pi face from us to twynne, 

ffor Marie loue, fat Mayden fre, ^| 70 

Whon we schal eny werk beo-gynne 
Mane nobiscum, domine! 

Mane nobiscum, domine! 

Wif-outen fe we ben riht nouht. 
What loye or Blis weore fat to f e, 75 

To f eose fat f ou hast deore abouht ? 



128 



In word, In wille, In herte and fouht, 

We schule preye to pe Trinite : 
Out of ))is world whon we be brou^t, 

Mane nobiscum, domine! 80 



PRAYER FOR THE SEVEN GIFTS OF THE HOLY GHOST 

51. (B /? II b 4) Vernon MS. 

God fat art of mihtes most, 
pe seuen Mftus of fe holigost 

I preye pat f>ou ^iue me, 
pat I may forwh ))e grace of hem 
Wynne )>i loue and of alle men, 5 

And euere to qweme f>e. 

Lord, for ))e )ifte of pite 
^if me grace sunne to fle, 

}\i hit beo f>i wille ; 
And jjorwh ))e ^ifte of drede also 10 

Euere godnesse forte do. 

And neuere to don ille. 

In wit, louerd, wys me make, 
Worldus pruyde euere forsake, 

ffor fi woundus fyue. 15 

^ift of strengfe graunte pou me, 
Out of sunne euer to be. 

Whiles icham a-lyue. 

In-sihte ^if f)ou me also 

pe to knowe, in weole & wo 20 

Whefer fat i beo Inne. 
^ift of counseil put in me 
Euere for to serue )?e 

Clene wif>-oute synne. 



129 

Sende me wisdam, forte se 25 

Mi wrecchednesse and my frelete 

Now and eueri day ; 
So f>at at my lyues ende 
To fat loye fow me sende 

pat lastej? now and ay. Amen. 30 

ORATIO MAGISTRI RICHARDI DE CASTRE, QUAM 
IPSE POSUIT 

52. (B 13 lie i) Lambeth MS. 853. 

Ihesu, lord, fat madist me, 

And wij) f)i blessid blood hast bou^t, 

For^eue fat y haue greued fee 
With worde, with wil, And eek with f ou^t. 

Ihesu, in whom [is] al my trust, 5 

pat deied upon f e roode tree, 
Withdrawe myn herte from fleischli lust. 

And from al wordli vanyte ! 

Ihesu, for f i woundis smerte 

On feet & on fin hondis two, 10 

Make me meeke & low of herte, 

And fee to loue as y schulde do ! 

Ihesu, for fi bitter wounde 

pat wente to fin herte roote. 
For synne fat haf myn herte bounde, 15 

pi blessid bloode mote be my bote. 

And ihesu crist, to fee y calle 

pat art god ful of my^t ; 
Kepe me cleene, fat y ne falle 

In deedli synne neif er be day ne ny^t. 20 



130 

Ihesu, graunte me myne askinge, 

Perfite pacience in my disese, 
And neuere mote y do fat fing 

pat schulde fee in ony wise displese. 

Ihesu, fat art oure heuenli king, 25 

Soofefast god, & man also, 
>eue me grace of good eendinge, 

And hem fat Y am holden vnto. 

Ihesu, for f e deedly teeris 

pat f ou scheeddist for my gilt, 30 

Here & spede my praiers, 

And spare me fat y be not spilt. 

Ihesu, for them y f e biseche 

pat wraff en fee in ony wise, 
With-holde from hem fin hond of wreche, 35 

And lete hem lyue in f i seruice. 

Ihesu, moost coumfort for to se 

Of fi seintis euerychoone, 
Coumfort hem fat careful been, 

And helpe hem fat ben woo bigoon. 40 

Ihesu, keepe hem fat been goode. 

And ameende hem fat han greued fee. 

And sende hem fruytis of erf eh fode 
As ech man nedif in his degree. 

Ihesu, fat art with-outen lees 45 

Almy^ti god in trynyte, 
Ceesse f ese werris, & sende us pees 

Wif lastinge loue & charitee. 



131 

Ihesu, fat art pe goostK stoon 

Of al holi chirche in myddil erfe, so 

Bringe fi fooldis & flockis in oon, 

And rule hem ri^tli with oon hirde. 

Ihesu, for fi blessidful blood, 

Bringe, if f>ou wolt, f>o soulis to blis 

For whom y haue had ony good, 55 

And spare pat f>ei han do a-mys. Amen. 

HYMN TO JESUS CHRIST 

53. (B iS II c 2) Thornton MS. 

Ihesu Criste, Saynte Marye sonne, 

Thurgh whaym fis werlde was worthily wroghte, 

I pray pe come and in me wonne, 

And of all filthes dense my thoghte. 

Ihesu Criste, my Godde verray, 5 

pat of oure dere lady was borne, 
pou helpe now, and euer, and aye, 
And lat me neuer for syn be lorne ! 

lesu Criste, Goddes sone of heuen, 

pat for me dyede one fe rude, 10 

I pray {>e here my symple steuen, 

Thurghe f>e vertue of thi haly blude. 

Ihesu Christ, fat one fe thirde daye, 

ffra dede to lyffe rase thurgh thi myghte, 

pou gyffe me grace the serue to paye 15 

And fe to wirchipe day and nyghte. 

Ihesu of whaym all gudnes sprynges, 
Whaym all men awe to lufe by righte. 



132 

Thou make me to ^eme thi biddynges, 

And thaym fullfill with all my myghte. 20 

Ihesu Crist, f)at tholede for me 
Paynes and angers bitter and felle, 
Late me neuer be partede fra pe, 
Ne thole )?e bitter paynes of helle ! 

Ihesu Criste, welle of mercy, 25 

Of pete and of all gudnes, 

Of all f>e synnes pat euer did I, 

I pray f>e gyffe me forgyffnes. 

Ihesu, to pQ I make my mane ; 

Ihesu, to fe I calle & crye, 30 

Late neuer my saule with syn be slane 

ffor pe mekillness of fi mercy. 

Ihesu, f>at es my saueoure, 

pou be my joy and my solace, 

My helpe, my hele, my comfortoure, 35 

And my socoure in ilke a place. 

Ihesu, pat with thi blude me boghte, 

Ihesu, pou make me clene of syn, 

And with pi lufe pou wounde my thoghte. 

And late me neuer mare fra pe twynne. 40 

Ihesu I couayte to lufe the, 
And pat es hally my ^ernynge ; 
pare-fore to lufe pe pou lere me, 
And I thi lufe sail [euer] synge. 

Ihesu, thi lufe in-to me sende, 45 

And with thi lufe pou me ffede, 
Ihesu, pi lufe ay in me lende, 
Thi lufe euer be my saule mede. 



133 



Ihesu, my herte with lufe fou lyghte ; 

Thi lufe me make euer to forsake 50 

All werldly joy, bathe day and nyghte, 

And joy in )>e anely to make. 

Ihesu, f)i lufe me chaufe with-in, 

So fat na thynge bot the I seke ; 

In thi lufe make my saule to brynne, 55 

Thi lufe me make bathe milde and meke. 

Ihesu, my joy and my louynge, 

Ihesu, my comforthe clere, 

Ihesu my Godde, Ihesu my kynge, 

Ihesu with-owtten pere ! 60 

Ihesu, j?at all hase made of noghte, 
Ihesu, )>at boghte me dere, 
Ihesu, joyne fi lufe in my thoghte 
Swa fat f>ay neuer be sere ! 

Ihesu, my dere, and my drewrye, 65 

Delyte fou arte to synge ! 

Ihesu, my myrthe, and my melodye, 

In-to thi lufe me brynge ! 

Ihesu, Ihesu, my hony swete. 

My herte, my comforthynge ! 70 

Ihesu, all my bales J)ou bete, 

And to fi blysse me brynge ! 

Ihesu, in thi lufe wounde my thoghte, 

And lyf te my herte to the ! 

Ihesu, my saule fat fou dere boghte, 75 

Thi lufere mak it to bee ! 

Now Ihesu, Lorde, fou gyffe me grace, 

If it be thi will. 

That I may come vn-to thi place. 

And wonn ay with the sty lie. Amen. 80 



134 

ALYA CANTICA 

54. (B /3 II c 3) Trinity CoU. Cambridge, MS. B. 10. 12. 

Ihesu, fi name honourde my^t be 

wi{> al fat any lyfe is in, 
Nou, swet ihesu, als pou made me, 

fou kepe me ay fro dedely synne ! 
Ihesu, f>e sone of mary fre, 5 

fe joy of heuen fou graunt me wynne ; 
My saule, ihesu, take I to Ipe 

when my body & it sal twynne. 

Ihesu, ])i name in me be sett 

als fou art kynnge & lorde of lyght, 10 

& graunt me grace ai bett & bett 

my lyfe to mende & lyf ay ryght. 
Ihesu, fi sydes wif blode war wett, 

& dulefuUy for me war dyght ; 
fou kepe me oute of syne & dett, iS 

now, swete ihesu, ay moste of myght ! 

Ihesu, pi name is hegh to neuen, 

& ^it I, katyfe, cry & kail, 
Ihesu, me helpe & brynge to heuen 

With pe to won my synful sail. ao 

Myghty ihesu, fou here my steuen 

als f>ou me boght when I was thrall, 
& forgyfe me pe synnes seuen, 

for I am gilty in psdm all. 

Ihesu, my lufe & my lykynge, as 

for euere more blyste mot {)ou be. 
Mi lufely lorde, my dere darlynge, 

ful wer me [fayne] myght I pQ se, 



135 

Ihesu, my lorde, pou gar me synge, 

a luf ely kynge is comen to me ; 30 

my swete swetness of alkyn thynge, 

my hope & tryste is al in f>e. 

Ihesu, me helpe euere more at nede, 

& fro fe fende f>ou me defende ; 
fou sett my saule in lufe & drede, , 35 

& al my myse Jjat I may mende. 
Ihesu, pi blude pat f>ou walde blede, 

fro fis fals lyfe or p>at I wende 
fou wesche a way al my mysdede, 

& graunt me blyse with outen ende. Amen. 40 

AN ORISOUN TO pE FYUE WOUNDES OF IHESUS 

CRISTUS 

55. (B /? II c 4) Vernon MS. 

Ihesus, fat di^edest vppon fe tre 
And foledest dep for loue of me 

And for myn elder sake, 
ffrom {>e deuel and al his miht 
pow kepe me, bof)e day and niht, 5 

Wher I slepe or wake. 

Lord, ^if me grace to worche pi wille 
And ))i Comaundement to for)?fille, 

pat heuene may beo my Meede. 
Ihesu, bring me to f>i Reste, 10 

pat euere wif>-outen ende schal leste, 

And help me at al my nede. 

Now, God, fat died on pe Rode 
And J?er-on schedde fin herte-blode. 

And of Marie was boren, 15 



136 

Heer me whon I to pe calle, 
And let me neuere in synne falle, 
Ne for my mis-dede be loren. 

Ihesu, fi fyue woundes on pe Roode 

pat })ou foledest for monnes goode, 20 

Moot my socour be. 
In pe worschipe of pi wounde 
pat fyn herte polede in pat stounde, 

A Pater noster sei we. Pater. 

In pe worschipe of pi riht honde 25 

pat was woundet in pe holy londe 

And nayled to f>e tre, 
Heere to-day my prey ere, 
As wis as J)OU bouhtest me dere 

Haue Merci, lord, on me. Pater. 30 

Ihesu lord, pat is so Mylde, 
ffrom dedly synne pou me schilde 

Bope day and niht ; 
Cumforte me, Ihesu, wip pi sonde, 
As wisliche as pi luft honde 35 

Was nayled wip on-riht. Pater. 

God, schilde my soule pat day fro care 
Whon hit schal from my bodi fare ; 

Haue Merci, lord, on me. 
As wis as I leue wel and wot 40 

pat on pe goode ffriday pi riht fot 

Was nayled to pe tre. Pater. 

As wis as harde to pe tre 

pi lift ffoot was nayled for me, 

Graunte me pi grace, 45 



137 

pat I may haue J)i loyful reste, 
pat wif-outen ende schal leste 
And seo pi louely face. Amen. Pater. 



A PREYER TO pE FIUE WOUNDES 

56. (B 1311c 5) Vernon MS. 

Ihesu crist, my lemmon swete, 

pat di^edest on pe Rode-tre, 

Wif> al my miht i fe be-seche, 

ffor fi woundes two and f>re, 

pat also faste mot )>i loue 5 

In to myn herte ficched be 

As was f>e spere in to }>m herte 

Whon ))ou soffredest de)) for me. 

Ihesus fat di^edest on )?e Rode 

ffor pe loue of me, 10 

And bouhtest me wi)) pi blode, 

pou haue Merci of me : 
What me lettef of eny fing 

ffor to loue fe, 
Beo hit me lef, beo hit me loj?, 15 

pow do hit a-wey from me. Amen. 



INVOCATION TO THE CROSS 

57. (B /3 II c 6) Rawlinson MS. B 408. 

*i* of ihesu criste be euer oure spede, 

And kepe vs from perel of synnes and payne. 

Blessid be fat lorde fat on f e crosse dide blede, 
Crist, god and man, fat for vs was slayne : 
Dede he was and rose vp agayne. 



138 

Euer helpe us, crosse, with hym to a-ryse 
Fro deeth to lyue, and synne to dispise. 

Gracyous crosse, now grawnt us f>at grace 
Hym for to worship with al oure mynde, 
In wordes, in werkes, and in euery place lo 

Knelyng and kyssyng pe, where we fe fjoide. 
Late us be neuer to hym vnkynde 
MercyfuUy ))at made vs to be men 
Nomore to kepe but his heestis ten. 

bHssful crosse, teche us al vertu 15 

Plesyng to god for oure saluacion, 
Quenchyng alle vices in pe name of ihesu 
Raunson payng for oure dampnacion. 
Sende us suche grace of conuersacion 

That we may stye and glorified be 20 

Where crist is kyng f>at dyed on tre, 

Crist, f)at dyed on pe holy roode, 

I pray fe, good lorde, with al my myght, 
Sende us summe part of al thy goode. 

And kepe us from yuel euer day and nyght, 25 

Contynuyng f>i mercy sauyng al ryght. 
TituUe of pi passion Poynt us saue 
As to thy *i* reuerence we may haue. 



GODRIC'S SONG TO THE VIRGIN 

58. (B^IIdi) 

Sainte Marie uirgine, 

moder lesu Cristes Nazarene, 

onfo, scild, help fin Godric, 

onfang, bring hehhc wi5 pe in godes ric. 



139 

Sainte Marie, Cristes bur, 
maidenes clenhad, moderes flur, 
dilie mine sinne, rixe in min mod, 
bring me to winne wiS self god. 



TO THE VIRGIN MARY 

59. (B 13 lid 2) Harl. MS. 2316. 

Marie, ^ow quen ! ^ow moder ! ^ow mayden briht ! 
^ow wilt ! ^ow canst ! ^ow art of miht ! 
^ow lyf ! ^ow love ! ^ow hope of bKsse ! 
In sinne, in sorwe, in nede, us wisse ! 



ORACIO AD SANCTAM MARIAM 

60. (B /? II d 3) Harl. MS. 2382. 

fol. 86.^ Mary moder, welk thu be ! 
Mary mayden, thenk on me ! 
Maiden & moder was neuer none 
to geder, lady, saue thu allone. 
Swete marie, mayden clene, 5 

shelde me fro shame & tene ; 
and oute of synne thu bryng me, 
and oute of dette for charite. 
Lady, for thi ioyes fyve, 

gete me grace in this lyve 10 

to knowe & kepe euery thyng 
cristen feith & goddis biddyng. 
And truly wynne al f>at is nede 
to me and [mine] clothe and fede. 
Help me, lady, & alle myne ; 15 

Sheld me, lady, fro helle pyne. 
Sheld me, lady, fro vilony, 



140 



and fro al wikked cumpany. 
Sheld me, lady, fro wikked shame, 
also fro al wikked fame. 20 

Swete marie, maiden mylde, 
fro the fende thu me shelde ; 
that the fende me not dere ; 
Swete lady, thu me were. 

bothe by day & eke bi nyght ; 25 

Help me, lady, Yfith al ]>\ myght. 
And for my frendes y pmy the 
that they mowe y saued be 
to ther sowles & to ]>er lyf , 

lady, for thi ioyes fyf. 30 

For my fomen y pray al so 
that they mow her^ so do 
fol. 87. that they not in wrathe daye ; 
swete lady, y the pray, 

and tho f>at ben in dedly synne 35 

lat hem neuer dye ther ynne ; 
But, swete, thu ham rede 
for to amende ther mysdede. 
for me, lady, fu pmy heuene kyng 
that y haue shrift & housling, 40 

and Jhg5u, for his swete grace, 
grawnte me [to] haue in heuene a place ; 
Lady, as y trist on the, 
thes prayers thu grawnte me, 

whil that y shal here lyve 45 

that y may kepe my wittes fyve, 
With pater noster and a crede 
to help me, lady, at my nede. 
swete lady, ful of wynne, 

ful of grace & god wftA ynne, 50 

as thu art flowr of al J?i kyn, 
Do me foly for to blyn. 



141 

and kepe me out of dedly synne 
that y be not y take ther ynne. 

Amen. 
Explicit. 

A PREIERE TO VRE LADI 

6i. (B)SlId4) Vernon MS. 

Marie Modur and Mayden : Euere wel fe be ! 
Modur and Mayden mylde : Marie, fenk on me ! 
Modur bojje and Mayden : Was per neuere non 
To-gedere, ladi Marie : But f>i-self al-on. 

Marie Mylde, pat Modur art : And mayden hoi and clene, 5 
To-day me schilde and euere : ffrom serwe and herte-tene ; 
Marie, out of synne : Euere kep pou me, 
And from fe deueles cumbrement : And out of his pouste. 

Marie ful of Merci : ffor fi loyes fyue 

Help me now and euere : To lyuen in clene lyue ; 10 

And for pe deo[l]ful teres : pou lettest vndur pe Rode, 

Send me in my lyue : Grace of gostly fode, 

Wher-wi]> I may my soule : Vche day her feden ; 

And of bodily godus : Mi lyf also wi(> leden. 

Help me, swete ladi : And alle frendes myne, 15 

And schild us here from alle vr fos : And from helle-pjoie ; 
Swete ladi of heuene : Schild us from worldus schame, 
And from pe deueles wyles : And from wikkede fame, 
NomeHche from dedly sunne : And from vilenye, 
And from alle-maner folk : Of wikked Cumpaignye. 20 

Swete ladi Maiden : Godus Moder Milde, 
A^eynes f>e f endus turnes : pou vs euere schylde, 
pat no wikkede })ing : Neuere vs do dere ; 
ffrom sunne, ladi, euere : pou saue vs and were. 



142 



In alle tymes, ladi : Bof>e day and niht 25 

Help us, seinte Marie : Wi)? al fy meyn and miht. 

I preye J?e for my frendes : And eke also for me, 

pat we moten here : Amendet beo ))orw ]>e ; 

As mest vr soule is nedful : And also to vr lyue, 

Marie, mak hit so : Wif> us, for pi loyes fyue. 30 

Ladi, for myn Enemys : I preye pe also, 
pat heo in fis lyue : Moten her do so 
pat heo neuer in synne : Ne in wraf>f>e dye ; 
Swete ladi Marie : Herteliche I f)e preye. 

And for alle fulke : pat ben in clene lyue 35 

I preye f>e, Marie : ffor pi serwes fyue ; 
Euere whil heore lyf laste : per-Inne )?ou hem holde, 
BoJ)e whil l^ei ben >onge : And eke whil f>ei ben olde. 

For alle )?o, ladi, i preye pe : pat ben in dedly synne ; 
Suffre hem neuere for no fing : pat f>ei dye f>er-Inne ; 40 

Swete ladi Marie : Heom wisse euere and rede, 
And do hem amenden, ar pei dyen : heere heore misdede. 

Marie, for J>i loyes : pat blisful weren alle, 

I>et me neuere here : In dedly sunne f alle ; 

Preye fou f>i deore sone : Ihesu heuene-kyng, 45 

He graunte me sof)fast schrifte : Hosel and god endyng. 

And for his precious blod : And his holy grace 

In heuene-riche wif) him-self : pat I mowe hauen a place. 

Marie, as my trust : Enterliche is in pe, 

ffor f>i leoue sones loue : peos preyers graunt fou me ; 50 

And beo myn help studefast : To gete me f>at blisse 

pat euermore schal lasten : Wip-outen eny misse. Amen. 



143 



ANOTHER PRAYER TO THE VIRGIN MARY 

62. (B /Slid 5) Vernon MS. 

Mary Modur, Qwen of heuene, 

penk on me and here my steuene ! 
Marie Meke and Mylde of mood, 
ffor loue of f>at holy Rood, 

Marie, fat fou se^e on Rode 5 

Whon fou bi pi sone stode, 

Marie, f>at Ran out of his syde 
fforte falle f>e fendes pryde, 

Marie, ^if me knowynge of my synne, 
And let me neiiere die {)er-Inne ; 10 

Marie, schild me from vueles alle, 
And let me neuere in fondynge falle. 

Marie, prei for me pi sone 
pat myn herte euere on him mone, 

Marie, to louen him ouer alle fyng 15 

Wif> herte trewe to myn endyng. 

Marie, i preye pe, Meke and Mylde, 
ffor loue of pi swete childe, 

Marie, my scheld beo a^eyn pe fende 
Whon I schal out of f>is world wende. 20 

Marie, of myn ende is al my drede, 
Of my sunnes and of my misdede : 

Marie, forfi jjou rewe on me, 
pat I ))orwh pe may I-saued be. 

Marie, Mi ffrendes, quike and dede, 25 

pou hem wisse and fou hem rede, 

Marie, In to fat holy bhs 
per Ihesu crist him-seluen is. 

Marie, at my def> whon I schal fare 
Out of f>is world, droupe and dare, 30 

Marie, help me f>enne as on of fyne, 



144 

And bring me out of serwe and pyne, 
Marie, in to blisse, wif> f>e to wone, 
ffor Ihesu loue, fi deore sone. Amen. 



AN ORISOUN TO pE FYUE lOYES OF VRE LADY 

63. (B/3IId6) Vernon MS. 

Marie Modur, wel pe bee ! 
Modur and Mayden, f)enk on me 

ffor pi muchel miht ! 
Marie May den meke and mylde, 
ffrom mis-chaunce to-day me schylde, 5 

pat me ne dere no wiht. Aue. 

Marie, ]>ou hast no peere, 
Heere to-day my preyere, 

pouh I vn-worfi be ; 
To J)e I clepe and calle : 10 

As pon art flour of alle 

pou haue Merci of me. Aue. 

Marie Modur and Mayden eke, 
ffor fat loye I pe by-seche 

pat Gabriel fe grette, 15 

pat loye me kepe day and niht 
ff rom jje deuel and al his miht, 

And of mis-dede me lette. Aue. 

ffor pe loye ))at God was boren 

Let me not, ladi, beo forloren 20 

pat fi sone bouht dere, 
But vndurfong to-day my beode, 
pat hit may stonde me in sum steode 

porwh ]>i preyere. Aue. 



145 

And for pe loye f>at fro def> to lyue 25 

God vp-Ros wi(> woundes fyue 

Vppon fe paske-day, 
Beo-seche fi sone, ladi Mylde, 
ffrom mischaunce fat he me schilde 

As wis as he best may. Aue. 30 

And for fe loye God steih to heuene 
On holy Jjoresday wif> mylde steuene, 

Help me, ladi of miht, 
And beo bofe my scheld and spere, 
pat no wikked mon me dere 35 

Ne deuel bi day no niht. Aue. 

And for pe loye aftur J?yn ende, 
Bi-fore to heuene per fou dudest wende 

In Murf>e and lolyte, 
Bryng me in to fat reste 40 

pat euer wif-outen ende schal leste, 

^if ]>i wille be. Aue. 

Ladi, flour of wymmen-kynne, 
^if me grace pi loue to wynne, 

Mayden feir and fre, 45 

And let me neuer for no synne 
ffor-go fat loye fat f ou art Inne, 

AMEN par Charite. Aue. 

HYMN TO THE VIRGIN 

64. (B /8 II d 7) Corpus MS. 54, D. 5. 14. 

Moder milde, flur of alle, 
f u ert leuedi swuf e treowe, 
bricht in bure & eke in halle, 
f i loue is euer iliche neowe ; 



146 

on f>e hit is best to calle, 5 

swete leuedi, of me ])\i reowe, 
ne let me neuere in sunnes falle 
\>Q me parked bale to breowe. 

Riche quene & maiden bricht, 

fu ert moder swufe milde ; lo 

min hope is in Ipe da> & nicht 

f>at fu me sauchte wid ))ine childe ; 

for ))U nult noting bote richt. 

swete leuedi, f>u me sschilde 

))at ic non f>ing mid unricht 15 

wurche fe werches fe beoS towilde. 

Swete leuedi, ic bidde pe, 

quen of heouene per ]>u ert in, 

bisech f>in sune par cherite 

fat he me sschilde from helle pin, 20 

for fer nis noufer gome ne gleo, 

au^ {>er is pine widute fin. 

swete leuedi, sschild pu me 

fat min soule ne cume fer in. Amen. 

IBLESSED BEO pU, LAUEDI 

65. (B iS II d 8) Egerton MS. 613. 

[I]blessed beo f>u, lauedi, ful of houene Blisse, 
swete flur of parais, moder of milder [t]nisse ; 
fu praie ihesu crist fi sone fat he me i-wisse 
ware a londe al swo ihc beo fat he me ne i-misse. 

Of f e, faire lauedi, min oreisun ich wile bi-ginnen ; s 

f i deore swete sunnes loue f u lere me to winnen. 
wel ofte ich sike and sorwe make, ne mai ich neuere blinnen, 
bote f u f ruh fin milde mod bringe me out of sunne. 



147 



Ofte ihc seke merci, fin swete name ich calle ; 

mi flehs is foul, J?is world is fals, }>u loke fat ich ne falle. lo 

Lauedi freo, fu schild me fram fe pine of helle, 

And send me in-to pat blisse fat tunge ne mai tellen. 

Mine werkes, lauedi, heo makief me ful won ; 

wel ofte ich clepie and calle, fu iher me forfan. 

Bote ic chabbe fe help of f e ofer i ne kan ; 15 

help fu me, ful wel f u mist, f u helpest mani a man. 

Iblessed beo fu, lauedi, so fair and so briht ; 

Al min hope is uppon fe bi dai and bi nicht. 

helpe fruh fin milde mod, for wel wel f u mist, 

fat ich neuere for feondes sake fur-go fin eche Uht. 20 

Briht and scene quen of houene, ich bidde fin sunnes hore, 
f e sunnes fat ich habbe i-cvn, heo rewwef me ful sore ; 
wel ofte ich chabbe f e fur-saken ; f e wil ich neuer eft more, 
Lauedi, for fine sake treuf en feondes lore. 

Iblessed beo fu, lauedi, so feir and so hende, 25 

f u praie ihesu crist f i sone fat he me i-sende, 
whare a londe alswo ich beo er ich honne wende 
fat ich mote in parais wonien wi-f uten ende. 

Bricht and scene quen of storre, so me liht and lere, 
in f is false fikele world so me led and steore 30 

fat ich at min ende-dai ne habbe non feond to fere, 
ihesu mit ti swete blod f u bohtest ful me deore. 

Ihesu, seinte marie sone, f u iher fin moder bone ; 

to f e ne dar i clepien noht, to hire ich make min mene. 

f u do fat ich for hire sake beo imaked so clene 35 

fat ich noht at dai of dome beo flemed of fin exsene. 



148 



SEINTE MARI, MODER MILDE 

66. {B(3lld 9) MS. T. C. C, B. 14. 39. 

Seinte Mari moder milde, 

Mater salutaris; 
Feirest flour of eni felde 

Vere nuncuparis. 
Thorou ihesu crist thou were wid childe ; 5 

Thou bring me of my thouhtes wilde 

Potente, 
That maket me to dethe tee 

Repente. 

Mi thounc is wilde as is the ro lo 

Luto gratulante. 
Ho werchet me ful muchel wo 

Illaque favente. 
Bote yef he wole wende me fro, 
Ic wene myn herte breket a two 15 

Fervore. 
Ic am ifaiht bo day ant naiht 

Dolore. 

Jhesu, thorou thi muchele miht 

Omnia fecisti; ao 

The hoH gost in Marie Uht 

Sicut voluisti. 
Forthi he is icleped ur driht, 
Ihesu, bring my thouht to Crist 

Constanter, 25 

That it be stable ant nout chaungable 

Fraudanter. 

Jhesu Crist, thou art on loft 
Digno tu scandente; 



149 

Hevene ant erthe thou havest iwrouht 30 

Victor e triumphante; 
Monkun wid thi bodi abouht, 
Thou noldest lesen hym for nouht, 

Nee dare 
Ant yeve the blod that was so god 35 

Tam gnare. 

Suete levedi, flour of alle, 

Vere consolatrix, 
Thou be myn help that I ne fall, 

Cunctis reparatrix! 40 

Mildest queue ant best icorn, 
Niht ant day thou be me forn 

Precantis! 
Yef me grace to see thi face 

InfantisI 4S 

That I thorou thi suete bene, 

Tutrix orphanorum, 
Mot leven al this worldes tene, 

Solamen miserorum; 
Ant to the levedi mot I take, 50 

And myn sunnes al fursake 

Volente, 
That I ne misse of thine blisse 

Poscente. 

AN ORISON TO VR LADY 

67. (B /8 II d 10) Vernon MS. 

Heil beo ))0U, Marie : Mylde qwen of heuene ! 
Blessed is f i Nome : And good hit is to nemene. 
To fe i Make my mone : I prey pe, here my steuene, 
And let me neuere dye : In non of fe sunnes seuene. 



150 

Ladi seinte Marie : Qween Corteis and hende ! 5 

ffor f>e loye fat )?ou were Inne : Whon god his Angel dude sende, 
And seide fat fe holygost : Schulde in J>i bodi lende, 
pou bringe me to fat blisse : pat is wif-outen ende. 

loyful was fin herte, ladi : — perof haue I no drede — 
Whon Ihesu crist was boren of f e : ffeirest of alle f ede, lo 

And f ou were Maiden biforn : And aftur, as we rede. 
Marie, for f e loue of him : Help us at al vr nede. 

Swete ladi, f ou rewe on me : And mak myn herte clene. 
Bring us out of sunne : pat dof us traye and tene ; 
Wo hit vs byginnef : In werkes as we han sene ; 15 

S child us from f e peynes : per non may of ur mene. 

Ladi ful of grace : loyful was f i chere 

Whon Ihesu crist from def vp ros : pat was f e lef and dere. 

Marie, for f e loue of him : pat lay f yn herte so nere. 

Bring us out of synne and serwe : While fat we aren here. 20 

Ladi ful of muche miht : pat mylde art of mod ! 
ffor his woundes fyue : pat Ronnen alle on blood, 
ffor f e loue of swete Ihesu : pat dyede on f e Rod, 
Get me heuene blisse : Ladi feir and god. 

Ladi seinte Marie : Corteis, feir & swete ! 25 

ffor loue of f e teres : pat for f i sone f ou lete 

Whon f ou se^e him hongen : Nayled honden and fete, 

pou sende me grace in eorf e : Mi sunnes forte bete. 

In counseil art f ou best : And trewest in eueri nede. 

To sunfol men ful prest : In saumple of good dede : 30 

ffor loue of fi deore sone : pou se^e on Rode blede, 

pou help us nou and euere : And schild us from mis-dede. 

Ladi seinte Marie : So Rose in Erber rede, 

To f e i crie and calle : To f e I make my beode : 

pou help me at myn ende : Whon I drawe to f e dede, 35 

And let me neuer falle : In bondes of f e quede. 



151 

Ladi, for ]>e ioye : pat fou fi-self were Inne 

Whon ))0U se^e Ihesu crist : fflour of al monkinne 

Steih in to his riche : per Ioye schal neuer blynne, 

Of Bale ))ou beo my bote : And bring me out of synne. 40 

Ladi, for fat Ioye : pat pou to crist weore tan 
In to fe blisse of heuene : Wif Aungeles moni an, 
And set bi swete Ihesu crist : In ffel, in flesch and bon, 
pou bringe me to fat blisse : pat neuer schal beo gon. 

Ladi ful of grace : pat hei^e sittest in trone, 45 

Loue of alle blisse : Send fou me my bone : 

Ihesus to louen and drede : My lyf to amenden sone. 

And comen to him fat hende : pat weldef Sonne and Mone. 

For fi loyes fyue : Ladi feir and briht, 

£Eor fi clene Maidenhod : And for fi muchele miht, 50 

pou ^if me miht and grace : To come to fat liht, 

per Ioye is euere newe : And day wif -outen niht. 

Ladi seinte Marie : ^if f i wille ware, 

As f ou art ful of Ioye : And I am ful of care, 

Schild me from synne and schome : pat I falle no mare, 55 

And send me hosul and schrift : Ar I hef ene fare. 

Amen. 



THE FIVE JOYS OF THE VIRGIN 

68. (B ^ II d 11) Jesus CoU. (Oxford) MS. I. Arch I, 29. 

Her bigynnef f e vif Blyssen of vre leuedi seynte Marie. 

I Leuedy, for fare blisse 

fat f u heddest at f e frume, 
po f u wistest myd iwisse 
fat ihesuc wolde beo f i sune, 



152 

pe hwile we beoj? on lyue ))isse 5 

sunnen to don is vre wune ; 
Help vs nv fat we ne mysse 

of fat lif fat is to cume. 

II Moder, blife were fu fo 

hwanne fu iseye heouen-king lo 

Of fe ibore wif-vte wo 

fat scop f e and alle f ing. 
Beo vre scheld from vre ivo, 

and yef vs fine blessyng, 
And bi-wyte vs euer-mo 15 

from alle kunnes suneging. 

Ill Leuedi, al myd rihte 

f u were gled and blif e 
po crist f ureh his myhte 

aros from def e to lynt, 20 

pat alle f ing con dihte 

and wes i-boren of wyue. 
He make vs clene and bryhte 

for his wundes fyue. 

nil From f e Munt of olyuete 25 

f o f i sone to heouene steyh 
pu hit by-heolde myd eye swete, 

for he wes fin heorte neyh. 
per he hauef imaked f i sete ^ 

in o stude fat is f ul heyh ; 30 

per f e schulen engles grete 

for f u ert bof e hende and sleyh. 

V pe king fat wes of f e ibore 
to heouene he f e vette, 
To fare blisse fat wes for-lore 35 

and bi hym seolue sette, 



153 



Vor he hedde pe icore 

wel veyre he pe grette. 
Blyfe were f)U fer-vore 

J)0 engles ])e imette. 40 

Moder of Milce and mayde hende, 

ich Ipe bidde as i con 
Ne let f)U noht f>e world vs blende 

fat is ful of vre ivon. 
Ac help vs at vre lyues ende, 45 

}'U ))at here god and mon, 
And vs alle to heouene sende 

hwenne we schulle fis lif for-gon. 

Ihesuc, for fire moder bene, 

fat is so veyr and so bryht, 50 

Al so wis so heo is quene 

of heouene and eorfe, and j?et is ryht, 
Of vre sunnes make vs clene, 

and yef vs fat eche lyht, 
And to heouene vs alle i-mene, $5 

louerd, f u bryng, for wel f u Miht. 

HYMN TO THE VIRGIN 

69. (B i8 II d 12) MS. No. CCCXX in the Library of New CoUege, 

Oxford. 

Swete and benygne moder and may, 

Turtill trew, flowre of women alle, 
Aurora bryght, clere as the day, 

Noblest of hewe, f us we the calle ; 

Lyle fragrant eke of the walle ; $ 

Ennewid wif bemys of blys. 
In whom neuer was founden mys. 



154 

So fayre, so good, was neuer non ; 

Transcendyng is ther-for ]>i place 
Aungels alle and seyntis echone ; lo 

Next vnto god, such is J)i grace. 

Lo, pi mekenes f>e did purchace 
Euer in ioy so to endure 
In f)i grete lande, o princes pure. 

Surmountyng is ))in excellence, 15 

Thou rose of prys, thou flowre of may ; 

And phebus lyke in his ascence, 
Natyff of blys where pou art ay, 
Lady saunzpere, J>is is no nay. 

Empres of helle also of righte, 20 

In pe is eke owre anker pight. 

Stormy s ageyne of cruell syn 

That puyssauntlye us do assayle ; 
And while we fis world be yn 

Now, lady fayre, )>ou us not fayle. 25 

Lat neuer vice on us prevayle. 
Entrete pi babe, so, queue on hie, 
In whom to pe is no denye. 

SiJ) here is nought but myserie ; 

The fende, pe fleish, pe world also, 30 

Assaute us ay wip-oute mercy. 

Not comfortles )it is owre wo ; 

Lady, to pe resorte we do, 
Euyr tristyng thi grace and ayde, 
In whom fully owre trist is layde. 35 

Sewte and servise we owe, parde, 

To ))i hi^nesse of very due, 
As royall most by pedigre, 



155 



None lyke of grace ne of vertu, 

Louely lady, pi servauntes trew, 40 

Entrikid wi)) passiouns wylde, 
In tyme of nede socour and shilde. 

Saue hem fro syn and worldly shame 

That )?e worship with humble herte, 
And to ]>i son, iesus by name, as 

Not sete to pray that we not smert. 

Lord, ]>i iugement we may not sterte ; 
Euere f erfor thi grace us hight, 
In worship of fi modere bright. 

By William Huchen. 



NOTES 



In writing these notes I have given first an account of the poem under 
discussion, the pubhcation from which it is printed, and the variants, 
where found in manuscript, and where printed. The classification of the 
variants is, with a few exceptions, original. The relationship between 
the various poems has not been recognized, chiefly because they usually 
begin and end differently, and only one who has occasion to study the 
lyrics minutely would be struck by their resemblance. 

In the textual notes I have been Uttle concerned with the meanings of 
words or with doubtful interpretations. I have considered that words 
common in Middle English literature needed no explanation here. In 
fact throughout these notes I have felt it unnecessary, except in a few 
cases, to repeat the remarks of previous editors ; all the notes, then, in 
this volume are my own, except, of course, those for which credit is 
given. My interest in studying these lyrics has been in their provenience. 
By showing in detail whence the poets took their phrases, their peculiar 
turns of thought, and their commonest ideas, I have tried to deduce the 
conditions out of which these poems grew. Such a study involves a con- 
sideration of the influence of the liturgy and of French secular lyric 
poetry. 

The chief influence discernible in these poems comes from the liturgy. 
In trying to show the extent of liturgical influence, and how the most 
common and conventional phrases and ideas in these lyrics come directly 
from that source, I have been obliged to give much attention to Hnes 
which otherwise are too common or insignificant to demand any notice 
whatever. By collecting all lines of a similar nature under one note, in- 
stead of several repeated notes, I have attempted to show how great this 
borrowing has been, and how the very foundations of the Middle EngUsh 
rehgious lyric were laid in the daily services of the Church. Further- 
more, in an effort to make this intimate relationship apparent I have 
carefully avoided quoting from any but frequently used services; any 
parallel passages from services that were not in almost daily use I have 
omitted, for the content of these poems, as well as their phraseology, 
comes directly from the devotions that were heard, read, sung and 
prayed, not daily only, but several times daily, by poets who were for 
the most part priests and clerks in regular orders. 

167 



158 

I ought, perhaps, to caution one reading these notes against consider- 
ing all parallel quotations as sources ; I do not mean to infer by simply- 
instancing a parallel that there is any immediate connection. It is very 
easy to be injudicious in employing quotations, and in most cases I have 
cited the parallel merely to show that the idea or phrasing was common 
in the liturgy. When the quotation seemed to me to be sufficiently close 
to prove an immediate connection, and other circumstances seemed also 
to afford evidence, I have not hesitated to express my conviction. In 
comparing ideas common to the liturgy and to these poems too great 
similarity must not be expected, for it must be remembered that the 
services of the Church were written in Latin, French and English, and 
also that they took varying forms according to the use of each particular 
church. At the best, quotations of this nature are often not so precise 
as one would wish. A reader turning from these poems to the liturgy 
of the thirteenth century will doubtless be impressed with the fact the 
excerpts in these notes give a very inadequate conception of the depen- 
dence of these lyrics upon the Church services. General ideas, too elusive 
to be paralleled in quotations, detailed phrases and the choice of words 
too sHght or too uncertain to justify a note, suggest at every turn how 
immeasurably great is this indebtedness. 

In this connection I might add that it is often assumed that in poetry 
as conventional as the Middle Enghsh religious lyric, passages parallel 
to lines in other poems or treatises may easily be found, but that such 
parallels prove little. My experience has been that it is not easy to 
find exact parallels, either in ideas or phraseology. It is, of course, 
easy to find a single idea paralleled, but with this idea there are usually 
one or more other thoughts that are lacking in the passage compared, as 
in No. 48, where one or two parallel quotations would prove nothing, but 
the continuation of the parallels puts the case quite beyond doubt. 

The relations of these poems to French lyric poetry have been more 
fully treated in the Introduction. The influence of the French lyric was 
largely one of spirit and approach, and is usually too elusive to be dealt 
with in any but a general manner. I have given a few parallel passages 
from French manuscripts, but in no case are these passages to be con- 
sidered as anything but suggestive. 

The full titles of all works referred to will be found in the Bibhography 
on pp. 198 ff. In the following references the first number denotes the 
volume or poem, the second the page or Hne; as, E. E. T. S. 71-8, volume 
71, page 8, or 2-5, poem 2, line 5. 



From the Lay-Folks^ Mass-Book; printed, Simmons, E. E. T. S. 
71-8. Variants of the Mass-Book: — 
A. MS. Jac. V. 7, 27, Advocates' Lib., Edinburgh; printed Turnbull, 



159 

The Visions of Tundale together with Metrical Moralizations and other 
fragments; also printed, Biilbring, Eng. Stud. 35 (1905), 28-33. 

B. Brit. Mus. Royal MS. 17 B. XVII. 

C. Corpus Christi College, Oxford, MS. 155. 

E. Gonville and Caius College, Cambridge, MS. 84 (2). 

F. MS. in the Lib. of Henry Yates Thompson, Esq. ; MSS. B, C, E, 
and F were printed, Simmons, E. E. T. S. 71 ; MS. B also printed, Horst- 
man, R. R. II, 1-8. 

D. MS. Gg V 31, University Lib., Cambridge ; printed Gerould, Eng. 
Stud. 33 (1904), 1-27. 

This poem is a rendering of the Confiteor used by the people before the 
Mass. Simmons by a careful comparison of the Mass-Book with the 
uses of different churches has proved that the original was in French, 
and was probably after the use of Rouen. The Confession in itself, 
however, differs but sHghtly from those generally employed at the time 
in all the Western churches. The form of Confession employed by the 
priest and repeated by the people after him reads thus : — 

Ego reus & indignus sacerdos confiteor Deo caeli, & Beatae Mariae 
Virgini, & omnibus Sanctis ejus, & vobis fratres & sorores, quia ego miser 
peccator peccavi nimis contra legem Dei cogitatione, locutione, tactu, 
visu, verbo, mente, & opere, & in cunctis aliis vitiis meis mahs, Deus, mea 
culpa, mea culpa, mea maxima culpa : ideo deprecor te, piissima virgo 
Maria & omnes Sancti, & Sanctae Dei, & vos fratres & sorores, ut oretis 
pro me miserrimo peccatore apud Dominum Deum nostrum omnipoten- 
tem, ut ipse misereatur mei. Martene, De Ritibus, Tom. I, Lib. I, c. IV, 
art. xii, ord. 26. 

Renderings of the Confiteor are frequent enough in English verse, 
though they seldom follow their originals so closely as does the poem in 
the text. There is an unpubhshed metrical confession in MS. No. 27, 
Emmanuel Coll. See James, pp. 22 ff. 



From a Treatise of the Manner and Mede of the Mass, 11. 233-244 ; 
printed, Simmons, E. E. T. S. 71-134; also Furnivall, E, E. T. S. 117- 
499. The treatise is a free paraphrase of the Lay-Folks' Mass-Book. 
The poem follows the general outHne of the Public Confession. The first 
part is devoted to a confession of sin ; the second, to a petition for mercy. 

I. / was vn-kuynde. Unnatural, unfiHal. Parallel passages : And 
ofte be vnkynd un-to his grace, 3-11 ; I am unkuynde, and that I knowe, 
5-25 ; Late us be neuer to hym vnkynde, 57-12 ; All though we haue 
seruyd \>e vnkyndely, 26-73. The sin of unkindness is thoroughly 
liturgical and patristic. Cf . the Prymer of 1 53 5 : ' Keep us from the most 
damnable sin of unkindness.' Three Primers, p. 57. 

4. pat furst me wrou}t. Also : Graunt merci, for >ou madest me, 5-65 ; 



160 

Ihesu, lord, >at madist me, 52-1. This idea is found constantly in 
the lessons in the Prymer; cf. Ps. 131: 'Ecce, Domine . . . tu for- 
masti me'; also the rendering in the Prymer of Ps. 119. 73: *Thyn 
hondis maden me and fourmeded me.' Mask. II, 163. 

5. And se\>\>e me bou}t. Also: 6-19; 9-9; 21-11; 23-20; 27-18; 33- 
18; 43-76; 47-14; 51-37; 53-62; 53-75; 55-29; 63-21. AU these 
expressions may be traced back to the liturgy, and especially to the 
antiphons and prayers that were in constant use. Cf. the antiphon at 
the conclusion of the Gradual Psalms : ' Parce domine, parce populo tuo 
quern redemisti precioso sanguine tuo,^ which is rendered in the Prymer : 
'Spare lord, spare to thi peple, that thou hast bou}t with thi precious blood.^ 
Mask. II, 95. The ultimate source of the idea is scriptural, cf. Acts 20. 
28 : * quam acquisivit sanguine suo, ' which he hath purchased with his 
blood — but the EngUsh poet took the phrase from the words which he 
heard daily in the services. 

7. perfore. Cf. ideo deprecor of the Public Confession. 

10. Graunte vslyue. Also: 3-7; 5-60; 21-refrain; 22-28; 25-89; 
48-68. These phrases are all translations from the general absolution 
employed directly after the Public Confession. Cf. the York use : 'Ab- 
solutionem et remissionem omnium peccatorum vestrorum, spatium 
verae paenitentiae . . . tribuat vobis omnipotens et misericors Domi- 
nus.' Surtees Soc. 59-166. 



Printed, Clark, E. E. T. S. 129-8. The extended confessions found 
so widely in the Prymers and religious treatises of the period became 
somewhat conventionahzed in the thirteenth century or before. It is 
impossible to say just what hturgical model the poet may have had before 
him, but the following excerpts from a prose confession in a 'Prymer 
of Salysbury vse — newly enprynted at Rowen. M.ccccc.xxx.viij,' will 
suggest the nature of these conventional rehearsals of sin : — 

'The forme of confessyon. 

* Fyrst, I knowlege my selfe gylty unto Almyghty God, unto our lady 
saynt Mary: and to all the company of heuen . . . that ... I haue 
offended my lord God greuously, and specially in the seuen deedly synnes. 
... I haue synned in pryde of herte ... in pryde of clotynge : in 
strength : in eloquence : in beaute : in proude wordes. . . . Also I 
haue synned in enuy . . . wrathe . . . slouthe . . . couetyse. . . . 
Also I haue synned in brekynge of the commaundements. I haue not 
loued my lorde God aboue all thynge, nor my neyghbours as myself e. 
. . . Ferthermore I haue synned in myspendyng of my v. wyttes. . . . 
Also I haue synned in not fulfyllynge of the vii werkes of mercy bodyly. 
. . . Also ... in not fulfyllyng the vii werkes of mercy spirytuall. . . . 



161 

Also I haue not used the gyftes of the holy Goost to the honour of God. 
. . . Also I haue not gyuen tankes to our Lorde for the vii. sacramentes.' 
Mask. II, 274-278. 

Metrical renderings of such confessions, or of separate portions of them, 
are frequent. With No. 3 should be grouped the following poems not 
printed in this collection: 

An orisoun for negligens of pe X Comaundemens. E. E. T. S. 98-36. 

A Confession for negligence of /^e dedes of mercy. E. E. T. S. 98-34. 

An orysoun for sauynge of pe fyue wyttes. Ibid. 35. 

Dunbar's Tabill of Confessioun. Schipper, Denksch. d. wien. Akad., 
42-56. ■ 
This kind of verse-making seems to have been regarded as a sort of re- 
ligious duty. Even as gifted a poet as Dunbar failed to give it Hterary 
merit. Such poems are interesting, however, as showing how ideas first 
expressed in the sermons and treatises of the Fathers, and then estab- 
lished in the devotions of the people, were incorporated into this form of 
poetry, and were later taken over into more permanent and higher ex- 
pressions of thought in the non-hturgical poems ; in some cases, indeed, 
surviving yet in phrases found in the masterpieces of EngUsh literature. 

7. Cf. 2-10, note. 

10. In werke, in worde, in />ought, in token. From the PubHc Confes- 
sion. Cf. * Cogitatione, locutione, tactu, . . . opere.' 

11. Cf. 2-1, note. 

12. Sweryng by his body, or by his face. Cf. the Confession quoted 
from above: *I haue customably sworne ... by his swete body.' 

18. rede, syng, or pray. Take part probably as a priest or clerk in 
the services of the Church. Cf . the York Manual, Preces in Dominicis 
Dicendae: 'We shaU pray also for all prestes and clerkes that redys or 
singes in this chirche or in any other.' Surtees Soc. 63-123. Cf. also 
Blunt, Myroure of oure Ladye, E. E. T. S. E. S. 19-p. 3, 1. 3, note. 

34. spices, kinds, sorts; cf. Dan Jon Gaytryge's sermon: 'And of >is 
wikkede synne commes some sere spyces, boste and auauntynge,' etc. 
E. E. T. S. 26-11. 

43. The werkes of mercy. Cf. Matt. 25. 34-46. 

56. Or prayed for /?em foat dide me offence. Cf . Matt. 5. 44 : ' And pray 
for tiem which despitefully use you, and persecute you.' 

5". senen sacramentes. Cf. the Confession quoted from above: 'As 
the sacrament of baptym : of confirmation : of penaunce : of the body 
of our Lorde : of wedlocke : of preesthode : and of enelynge.' 

66. }if I shulde nombre pe branches especial. A common method of 
classifying sins. Dan Michel divides Pride into seven boughs and the 
boughs into twigs. Ayenbite of Inwyt, E. E. T. S. 23-17. 

71. The subject-matter of this paragraph concerns the seven gifts of 
the Holy Ghost: 'as the gyfte of understandynge . . . wysdome . . . 



162 

counseyle . . . science . . . strength . . . pyte . . . drede.' Mask. 
II, 277. Cf. Isaiah 11. 2 : 'And the spirit of the Lord shall rest upon him, 
the spirit of wisdom and understanding, the spirit of counsel and might, 
the spirit of knowledge, and the fear of the Lord.' 



Printed, Horstmann, E. E. T. S. 98-19. A variant of a portion of this 
poem (11. 1-8 and 11. 13-44) was pubHshed by FurnivaU, Archiv. 98 
(1897) 129 and later E. E. T. S. 117-785. The MS. of the variant is 
mutilated, being a cut-down leaf, found in the binding of a book. I have 
printed an amended version in M. L. N., January, 19 10. 

15 ff. Cf. the Confession in an Office of the Visitation of the Sick, 
from Brit. Mus. MS. 30,506: 'I knowleche to god and to owre lady 
seynte marie and to alle \>e halwen of heuene, that I have senned, with 
mowth spoken, with feet goon, with eyen seyen, with eren hered, with 
nose smelled, with herte Jjowht, and with al myn senful body myswrowth.' 
E. E. T. S. E. S. 90-8. 

29. Ne Hf />ou me none mede \ Aftur my sunfide dede. Also: 22-71 ; 
6-29 f. Cf. the Litany after the Gradual Psalms : 'Domine, non secun- 
dum peccata nostra, facias nobis : Neque secundum iniquitates nostras, 
retribuas nobis,' rendered : 'Lorde do nat with vs according to our synnes: 
Neyther rewarde thou vs after our vngodlynes.' Mask. II. 106, note 
96, and E. E. T. S. 109-lxvii. 

31. But aftur lord pi grete pite \ Ihesu lord, asoyle /?ou me. Also: 
Asoyle me of sunne, 8-6. Cf. the absolution, Ordo ad Visitandam 
Infirmum : 'Dominus Jesus Christus pro sua magna pietate te absolvat.' 
Surtees Soc. 63-48. 

45. Swete ladi seinte marie. Nearly all the epithets for Mary in these 
poems come directly from the Hturgy and not from French secular poetry. 
The title of lady is used so frequently in these poems that it is unneces- 
sary to note the places where it occurs. It derives from the liturgy ; cf . 
the early use of it in the Sequentia, In die Assump. b. M. : ' tu , . . 
domina es in caelo et in terra.' From Bod. MS. 775, written in the reign 
of Ethelred, sometime between 994-1017. York Missal, Surtees Soc. 
60-82. 

46. ful of Alle Curtesie. Also: ladi heitde and fre, 25-71 ; Moder ful 
of />ewes hende, 30-33 ; sofeir & so hende, 65-25 ; Corteis and hende, 67-5 ; 
Corteis, feir 6* swete, 67-25. There are many more similar passages too 
numerous to quote. These ideas and phrases come directly without 
doubt from the French secular lyric, especially from the chansons d'am^-ur 
(Introduction, pp. 29 ff.). Cf. almost any French lyric, for instance the 
one printed on p. 31, Douce dame prous et cortose et saige. The idea o^ 
Mary's courtesy and beauty was doubtless inherent in the liturgy (cf. 



163 

Sequentia in die Assump. b. M., date c. a.d. iooo: 'Tu es pulchra Dei 
sponsa, Tu regem Christum enixa, domina es in caelo et in terra') ; but it 
did not develop there. The nearest approach in the liturgy to the de- 
scriptions in the text is in a late and additional collect : ' O Marie al vertu 
makith thee fair' (Mask. II, 78). Even here it will be observed that 
the fairness is, as in all liturgical devotions, more a moral than a physical 
characteristic. 

47. Modur of Merci and of pite. Cf. the Salue regina. Mater miseri- 
cordiae, of the famous antiphon of the same name. 

48. Myn hope, myn help is al in />e. Cf. the antiphon, Salue regina 
in the Prymer: 'Modir of merci, heil, swetnesse and our hope.' 

50. In help of al vs wrecches here. Cf. the antiphon, Sancta Maria, 
translated: 'Seynt marie, socoure to wrecchis.' 

51. On the traditions and beliefs that link these poems at times with 
the legends that grew up in connection with the Virgin, see 68-33, note. 

59. pe flour of alle, | />i sone. Cf. 'Resp. Stirps Jesse virgam pro- 
duxit virgaque florem, Et super hunc florem requiescit Spiritus almus. 
Vers. Virga Dei genetrix virgo est, flos filius ejus.' In die Sanctac Trin. 
Surtees Soc. 63-190. 

68. From this point the poem is a paraphrase of the litany. Cf. the 
Prymer: 'Seynte Michael: preye for us. Seynte Gabriel: preye for 
us.' 

71. Holy Patriarkes and prophetes. Cf. the Prymer: 'All holy 
patriarches and prophetis: pray for us.' 

5 

Printed, Furnivall, E. E. T. S. 117-696; previously, Varnhagen, 
Anglia 7 (1884) 313. Variants: Simeon MS. 129'"; also Balliol MS. 354, 
fol. 145 r-146 r; printed, Fliigel, Anglia 26 (1903) 160; also, Dyboski, 
E. E. T. S. 101-154. 

I. For the influence of French lyric forms, especially of the chanson a 
personnages, on the setting of this poem, cf. Introduction, p. 38. See also 
below, note on 1. 89. her hi weste, in no way suggestive of 'local color' ; 
cf. 'Bi west, vnder a wylde wode-syde' (E. E. T. S. 117-658), and nu- 
merous other introductions. 

8. Ay, Merci, God, And graunt Merci. *I take Merci to be used in 
this poem in the twofold sense of Mercy and Thanks ' (Furnivall). 
That such is the meaning is proved by the refrain of the Balliol poem: 
'Now marcy, Lorde, & gramarcy.' These words were a favorite prayer; 
cf. MS. Trinity CoU. Camb. O. 2. 53. fol. 73 (James, III, 174): 'The 
Psalter of Ihesu is to sey ouer the first pater noster thies werdys folowyng : 
Ihesu mercy dr graunt mercy.* Likewise Osbern Bokenam closed many 
of his saints' lives with: 'Mercy Jhesu &* gramercy.' Cf. Horstmann, 
Osbern Bokenam's Legenden, pp. 36 ff. 



164 

10. From the Public Confession ; cf. 3-10, note. 

11. Almihti lord, haue Merci of me. Liturgical. 

12. pat for my sunnes /fi Mod gon schede. Also: 32-15; 54-37; and 
innumerable other expressions; all these have Hturgical sources. Cf. 
for illustration, the antiphon: 'Salvator mundi, salva nos: qui per 
crucem et sanguinem tuum redemisti nos.' Surtees Soc. 63-194. Cf. 
2-5, note. 

18. SHghtly varied from 1. 13. Such repetition of entire lines within 
a poem is very common. 

19. In to pe, lord, myn herte I lifte. Ultimately from the Sursum cor da 
of the Mass service. The expression was very frequently used in mystic 
treatises ; cf. R. R. I, 147 : 'lift ?oure hertis vp to me har I am sittand 
on mi fader right hand.' 

22. And sle me nou}t sodeynly. Also: 46-13. Cf. the Litany: 'A 
subitanea et improuisa morte, hbera nos, Domine.' 

26. kid. Ball, showed. 

30. What eueri sonde. Varnhagen prints eu^r isofide, which is pref- 
erable, Cf. the Balliol MS. : What so euer thow sendyst. 

33. The indebtedness of this poem to the extended confessions is so 
evident that it is unnecessary to point it out in detail. The stanza is 
entirely omitted in the BalUol MS. 

45. To sle my soule In sunne I slepe. The idea and the phraseology are 
met frequently in mystic writings; cf. R. R. I, 135: 'As >e apostle sais 
in Ms wordes : "Surge qui dormis, & exurge a mortuis : & illuminabit te 
Christus," >at is," Rise }'0u hat slepis in synne, wakyn & rise fra H deade." ' 

60. From the Absolution. Cf. 2-10, note. 

63. In-to f>e blisse />at neuer schal blynne. One of several paraphrases 
and translations of the endings of hturgical prayers. In one form or 
another these phrases have come into the lyrics from the services, usually 
occurring at the end, but sometimes as here in the body of the poem. 

77. The famihar doctrine of penance. 

83 • forpou woldest not />at I weore lost. Also: Thow woldest not foat 
I were lore, 6-20 ; Sofre /?ou neuere pat I he lost, 16-11. The idea is often 
found in hturgical prayers; cf. the York Manual: 'Deus, qui non vis 
mortem peccatoris.' Surtees Soc. 63-40.* 

84 ff. Cf. St. Edmund's Mirror: *Thre thynges pryncypaly ere in 
Code, \>2it es to say, Myghte, Wysdome, and Gudnes. Myghte es ap- 
propirde to Godd t>e ffadire. Wysdome, to God >e Son, Gudnes, to God 
\>t Haly Goste.' E. E. T. S. 26-20. Cf. also: 'Te myghte of ye fader 
almygtty | Te witt of ye sonne al witty | Te grace and ye gudeness of 
ye holy goste.' Item 1023, Thorpe's Cat. (1836). 

89. The poet here leaves the complaint form, which he has been follow- 
ing, and closes with an expression of his own thought in a kind of envoi 
after the manner of the French poets in their serventois and ballades. 



165 

Most interesting is his use of the phrase, Prince of alle pile, exactly in 
accordance with the custom of the senentois and ballade poets, who in 
their envois invariably addressed the President of the Puis with the title 
of Prince. It is to be noted that elsewhere the Middle Enghsh poet uses 
Lord several times, but never Prince; in fact this title as applied to Christ 
is of rare occurrence in these lyrics ; its use here is almost conclusive proof 
that the poet was entirely conscious that he was following foreign models. 
Another sign of French influence, coming either from the serventois or the 
ballade, is seen in the metrical form of the poem. Cf. Schipper, who in 
speaking of a poem by Dunbar, says : 'The form ... is that of the old 
ballad-stanza, consisting of eight iambic verses of five beats, the eighth 
of which forms the burden of each stanza.' {Denk. d. Wien. Akad. d. 
Wissensch. 41-93.) The fact that the line in this poem has only four 
beats need cause no trouble, for the poets seldom adopted all the character- 
istics of a foreign model. Lastly, the rhyme scheme, ababbcbc, is that 
of the French and English ballades. 



Hitherto unprinted. Variants: (A) Lambeth MS. 853; printed 
Furnivall, E. E. T. S. 24-35. (B) MS. Cotton. Calig. A II fol. 106, v; 
printed, Wright, Rel. Antiq. I, 197-200. The variants are interesting in 
that, though of different lengths, each contains more lines than the poem 
in the text. The RawUnson poet may have felt the inconsistency in 
having emotional and didactic matter in the same poem ; at any rate he 
has left out almost all the sermon and has thereby secured a greater unity. 

15. MS. has also; doubtless a clerical error for alas of the Lambeth MS. 

20. Cf. 4-29, note. 

73 ff. This reaHstic manner of treating the subject of death, which 
is found everywhere in the religious and moral poetry of the Middle 
Ages, owes more doubtless to the seventh lesson of the Offices of the Dead 
than to any other possible source. Cf. the ideas and reahstic manner 
of the following excerpts: 'My spirit shal be maad feble, my dales 
shulen be maad shorte, and oonli the sepulcre is left to me. . . . Lord, 
delyuere thou me and sette thou me besidis thee. ... Mi daies ben 
passed, my thoujtis ben wasted: turmentynge myn herte. ... If I 
susteyne, helle is myn hous : and I haue araied my beed in derknessis, 
I seide to rott, thou art my fadir : and to wormes, ye ben my modir and 
my sister.' Mask. II, 143. 

7 

Printed, Morris, E. E. T. S. 49-192. This poem shows close relation- 
ship with the Poema Morale, as Ten Brink mentions {Eng. Lit. I, 206 f., 
English translation). As he does not point out the extent of the in- 
debtedness, I have done so below. 



166 

2. eirede, fearful (Morris). 

3-4. Cf . Poema Morale, 11. 5-6 : ' Vnned lif ich habbe ilad, and yet 
me I'inkt' ich lede; Hwenne ich me bibenche, ful sore ich me adrede.* 
E. E. T. S. 49-58. 

8. This Une is manifestly corrupt. Morris's suggestion that wielde 
may mean would does not help matters. It may be that wielde is an 
error for widde; such a scribal mistake could easily have been made — at 
any rate the sense plainly demands the preposition, with, hwucchere, such 
Uke (Morris). With the general thought of the entire passage cf. the 
famiUar response in the Offices of the Dead: 'Mi soule thristide to god, 
the quyke welle : whanne shal I come and appere before the face of oure 
god?' Mask. II, 143. 

9 and also 17. Ci. P. M. iS: 'Elde is me bi-stolen on er l^an ich hit 
wiste.' 

10. awai to late ich was iwar ; nu hit me reowefs sore. The preacher of 
the Poema Morale had declared that such would be the case : ' >e wel ne 
do)> hwile he may hit schal him sore reowe.' 1. 22. awai, alas. 

18. ayitte, understand ; sidtSe, sight. Cf. with the thought, P. M. 1. 19 : 
*Ne may ich bi-seo me bi-fore for smoke ne for myste.' 

19. leihe, lye, used on the hair; cf. Withals Diet. (1568): 'Lie to 
wasshe the head with, lixiuium.' N. E. D. q.v. 

20. tohte, bright. 

21. Cf. P. M. II : ' Al to lome ich habbe agult on werke and on worde. ' 

24. Cf. P. M. 12 : 'Al to muchel ich habbe i-spend, to lutel i-leyd an 
horde.' 

25. Hord /fat ich telle is almesse-dede, etc. The author of the P. M. 
had similar ideas : * Sende vch sum god bivoren him t>e hwile he may to 
heouene ; Beter is on almes bi-uoren >ane beo> after seouene.' 11. 28-29. 

29. Repeated from 1. 21. 

32. i-}u^e, permitted. 

34. steowi, subdue. 

o 

Printed, Boddeker, 187 ; previously, Wright, Spec, of L. P. 47. On 
the stanzaic form see Schipper, Alteng. Met. p. 337. 

3. Murthes munne, to think of, hence, to experience, joys. Cf. N. E. D. 
s.v. min. Boddeker has the note : 'Das aus. v. 2 zu erganzende "madest" 
hat hier die Bedeutung " veranlassen, lassen;" "und liessest die Men- 
schen der Freuden pfiegen.'" 

6. Liturgical; cf. 4-31, note. 

8. luthere lastes, wicked sins. 

9. Afyftes, fortune, condition, /mnne, sorry, poor. 

11. meyn, strength. 

16. fuleflet, very sorrowful. 

17. wayteglede, 'Wartefroh, Hoffnungsnarr ' (Boddeker). 



167 

29- siwe/>, followeth. 

36. lauendere, mistress. See an interesting note on the word by 
Professor George Philip Krapp in M. L. N. 17, No. 4, p. 205. 

59. Ni/>e ant onde, envy. The words were frequently used together ; 
cf. Lam. Hom. 65: 'Hwenne we habbeb nih and onde.' N. E. D. s.v. 
min. 

61. Lyar€y\\dir. latymerAnttrprtttr. 

68. lotes, manners ; hence, actions. Cf. N. E. D. s.v. late. 

86. Dredful def>. The tendency seen in the following verses and in 
11. 52-63 toward personification is not marked in the M. E. Rel. lyric. 

89. Careful mon yeast in care, \ yfalewe as flour ylet for /? fare. Cf. 
the fifth lesson, Offices of the Dead (Job xiv.) : 'Homo natus de muliere 
brevi vivens tempore, repletur multis miseriis. Qui quasi flos egreditur, 
et conteritur,' and translated in the Prymer : 'A man is born of a womman 
and lyueth short tyme, and is fiUid with manye wrecchidnessis : which 
gooth out and is defoulid as a flour.' Mask. II, 137. 



Printed, Boddeker, 222; previously, Wright, Spec, of L. P. 99. 

1. God />at al /fis myghtes may. A common beginning for all kinds of 
M. E. poetry. 

2. In heuene b" er/^e fyy wille ys 00. Suggested perhaps by the third 
petition of the Lord's prayer: 'Fiat voluntas tua sicut in caelo sic in 
terra.' 

3. Ichahhe be losed mony a day. A constant complaint, especially in 
the earlier poems. Cf. No. 5, which develops this theme at length. 

5. lay, OF. lei, law. I was to blame, and I insisted on knowing and 
following my own religion, not thine. 

8. vngrey/>e, unprepared. 

9. Liturgical; cf. 2-5, note. 

10 ff. The thought that a man's good deeds, because of their insig- 
nificance and imperfection, are at best of little or no avail in the final 
judgment, is frequently expressed in the liturgy; cf,, for instance, the 
response after the sixth lesson in the Offices of the Dead : ' Lord, nyle 
thou deeme me aftir my dede, for I haue don no thing worthi in thi sijt.' 
Mask. II, 138. 

15. When y myself haue />ourh soht \ y knowe me for pe worst of alle. 
Also : Ich holde me vilore />en a gyw, 1. 29 ; /fof I be werst in my lyfynge, 
22-18. Cf. R. R. I, 17: 'And neuer-be-latter >ai thynk ham-self vylest 
of all, & haldes ham wretchedest, leste, & lawest. his es hali mens lyf : 
folow it, & be haly.' 

27. My meste vo ys my hues trowe. Boddeker: 'Der Gedanke ist: 
Mein grosster Feind ist das Vertrauen in das mir gespendete Lob (dies 



168 

machte mich stolz und hielt mich von Gott fern).' Dan Michel says 
that this sin of taking delight in hearing oneself praised is the second twig 
that grows out of the fifth bough of Pride. Ayenbite, E. E. T. S. 23-25. 

10 

Printed, Simmons, E. E. T, S. 71-84. From the York Hours of the 
Cross. The poem is a rendering of the following prayer : * Domine iesu 
Christe, fili dei uiui, pone passionem, crucem et mortem tuam inter 
indicium tuum et animas nostras, nunc et in hora mortis nostre; et 
largiri digneris uiuis misericordiam et gratiam, defunctis veniam et re- 
quiem, ecclesie regnoque pacem et concordiam, infirmis sanitatem, et 
nobis peccatoribus vitam et gloriam sempiternam. Qui vivis et regnas 
deus, Per omnia saecula seculorum. Amen.' E. E. T. S. 71-85. 

II 

Printed, Wright, Rel. Antiq. II, 226. In the last part of the MS. 
volume in which this poem is found are a number of sermons by William 
Herebert, a Franciscan friar and preacher; following these are a few 
metrical translations, among which are the poem in the text and Nos. 
42 and 44 with the following note: 'Istos hymnos et antiphonas quasi 
omnes et cetera transtuht in angUcum, non semper de verbo ad verbum, 
sed frequenter sensum aut non multum decHnando, et etiam manu 
scripsit frater Willelmus Herebert. Qui usum hujus quaterni habuerit, 
oret pro anima dicti fratris.' Date, c. 1330. See P. Meyer, Notice et 
Extraits du MS. 8336 de la Bihlioiheque de Sir Tho7nas Phillipps a Chelten- 
ham. Rom. 13 (1884) 536, See also Wright, Rel. Antiq. I, 86. 

It has never been pointed out that the poem is a rendering of the Re- 
sponse and Versicles following the ninth lesson in the Exsequiae Defunc- 
torum, Use of Sarum : 

'Responsorium. Libera me, Domine, de morte aeterna in die ilia tre- 
menda, Quando caeli movendi sunt et terra, Dum veneris judicare saecu- 
lum per ignem (11. 1-3). 

'Versus. Dies ilia, dies irae, calamitatis et miseriae: dies magna et 
amara valde. Quando caeli, et dicitur usque ad Dum veneris tantum 
(U. 4-10). 

'Versus. Quid ergo, misserrimus quid dicam vel quid faciam, dum 
nil boni perferam ante tantum judicem? ' (11. 13-14). 

lo-ii. Translated from the Response after the eighth lesson: 'Re- 
quiem aeternam dona eis, Domine : Et lux perpetua luceat eis.' Sur- 
tees Soc. 63-71* ff. 

12 

Printed, Wright, Rel. Antiq. I, 235; also Matzner, p. 51. Other 
versions are: (i) MS. Digby 86; printed, Stengel, p. 104. (2) MS. 
Emmanuel College (Cambridge), No. 27; described, James, p. 22 ff. 



169 

A rendering of the liturgical prayer used by St. Anselm in the Office 
of the Visitation of the Sick (Migne, Patrol. Lat. 158-685 fif.). It was 
thus well known, and appears in various forms in the rehgious poetry 
of the time. Anselm took the prayer from Ps. xxx, 6 : 'In manus tuas 
domine, commendo spiritum meum; redimisti me, Domine Deus veri- 
tatis.' 

13 

Printed, Simmons, E. E. T. S. 71-200. Variants: Balliol MS. 354, 
leaf 209 ; printed Fliigel, Anglia 26 (1903) 221 ; Dyboski, E. E. T. S. E. S. 
101-62. Talbot Hours MS. Beaucamp MS. See note E. E. T. S. E. S. 
101-179. The variants are not found alone, but form only one stanza 
of several prayers entitled respectively: 'Vnto the Fader . . . Vnto 
^e Sonne . . . Vnto >e Holy Cost . . . Vnto the Trinite . . . Vnto 
owr Lady . . . Vnto be angeUis . . . Vnto be propre angell . . . Vnto 
John Baptist . . . Vnto >e Appostillis . . . Vnto be martires . . . Vnto 
be confessowrs , . . Vnto all holy monkis & erimitis . . . Vnto be virgyns 
. . . \'nto all Sayntis.' The entire poem should have been printed in 
this group, as illustrating poems built upon the htany, but because of its 
conventional character I have been content merely to refer to it. 

14 

Printed, Wright, Songs and Carols, Percy Soc. 23 (1847) 76. Poems 
modeled upon the litany are frequently found. With this poem should 
be placed the variant forms of 13 (see note above) ; the confession, No. 4, 
also employs the litany. 

3-4. These hnes, forming the refrain, correspond in a general way to 
the Ora pro nobis of the Litany. The Litany of the poem follows the 
Use of York very closely. 

5-6. Cf. the Litany: 'Bi thin hooH passioun and moost piteuous 
deeth: lord, delyuer us.' Mask. II, 102. 

7. Cf. the same Litany: 'Fro dredefid pereles of oure synnes: lorde 
delyuere us.' 

8. Cf. 'Fro endeles dampnacioun: Lord delyuer us.' 
20. Cf. 'Alle ordris of hooly spiritis: prei for us.' 

15 

Printed, Simmons, E. E. T. S. 71-40; in the Lay-Folks' Mass-Book. 
See I, note. Metrical prayers for use during the Mass are often found. 
Myrc (E. E. T. S. 31-10), after giving a metrical prayer very simUar to 
No. 16, adds: 'Teche hem bus ober sum bynge 1 To say at the holy 
sakerynge.' Cf. with this poem ' A preyer at be leuacioun.' E. E. T. S. 
98-24. 

7. hot /fou bids aske, & we shal hatte. Cf. Matt. 7. 7 : 'Ask, and it 
shall be given you.' 



170 

8. swete ihesu, make me saue. From the liturgy ; cf . the Response after 
the seventh lesson, Exseq. Defunct. : ' Deus . . . salvum me f ac ' ; and 
rendered in the Prymer: 'God . . . make me saaf.' Mask. II, 144. 
The expression is of frequent occurrence in Hturgical prayers and re- 
sponses as well as in the Psalms. 

16 

Printed, Horstmann, E. E. T. S. 98-25. 

1 . I />e honoiire wip al my miht, etc. Cf . the similar prayer used during 
this part of the Mass Service: 'Domine Jesu Christi . . . adoro et 
veneror hoc sacrosanctum corpus . . .' Surtees Soc. 59-199. 

13. ladi of Merci most. Cf. the second lesson, Horae BVM. : 'Seynt 
marie moost piteuous of alle piteuouse wymmen.' Mask. II, 10. 

17 

Printed, Fehr, Archiv. 106 (1901) 272. This poem is based upon the 
incident related in Matt. 15. 21-22 : 'Et egressus inde Jesus secessit in 
partes Tyri et Sidonis. Et ecce muHer Chananaea a finibus iUis egressa 
clamavit, dicens ei : Miserere mei, Domine fili David.' 

3. Welle of man and pyte. Liturgical; but cf. as more directly to 
the point the vii Prayer in the *xv 00s': *0 Blessyd Jesu, well of 
endlesse pyte.' Mask. II, 258. 

6. Thou came fro heuen fro thi se. Evidently 11. 6-9 are the words 
of the woman. If so fro thi se, doubtless seemed appropriate to the 
poet from the description of the woman's country given in the Gospel: 
'Then Jesus went thence, and departed into the coasts of Tyre and Sidon, 
And, behold, a woman of Canaan came out of the same coasts.^ (Auth. 
Vers.) 

18 

Printed, Clark, E. E. T. S. 1 29-11. 

2. For Maryes prayers and al pi sayntes. Very common in liturgical 
prayers; cf. the rendering of the prayer, Pietate tua, in the Prymer: 
'For thi pite, Lord, we bisechen the unbinde the bondes of alle oure 
synnes : and thoru? the priere of the blessid and glorious evere lastynge 
maide Marie, with alle thi seintes. ..." Mask. II, 222. 

19 

Printed, Clark, E. E. T. S. 1 29-11. 

6. Graunt me of youre m^rites a participacion. A paraphrase probably 
of a clause in some liturgical prayer ; cf . the prayer in the Exseq. Defunct. : 
'et tuae redemptionis facias esse participes.' 



171 



20 

Printed, Simmons, E. E. T. S. 71-350. .\nonymous metrical prayers 
to the saints are of rare occurrence in Middle English. 

3-4. Cf. the York Prayer, printed above, p. 168: 'pone passionem, 

crucem et mortem tuam inter indicium tuum et animas nostras, nunc et 

in hora mortis nostre.' 

2Z 

Hitherto imprinted. No variants. Built upon Ps. 53 (Auth. Vers. 

54). 

1-2. Cf. Ps. 53. 3 : 'Deus in nomine tuo salvum me fac et in virtute 
libera me.' 

3. The idea of the sinner as diseased and of God as the physician is 
prominent both in the Bible and the Hturgy. 

6. endeles mercy. Cf. the xi prayer of the 'xv 00s' : '0 Blessyd Jesu, 
depnes of endles mercy.' Mask. II, 259. 

8. From the absolution after the PubUc Confession ; cf. 2-10, note. 

9-10. 'Deus exaudi orationem meum, auribus percipe verba oris.' 
V. A. 

16. A portion of a word is crossed out and mende is written in the 
margin. 

17-19. 'Quoniam aliene insurrexerunt in me et fortes quesierunt 
animam meam et non proposuerimt Deum ante conspectimi suum.' 

25-26. 'Ecce enim Deus adjuvat me et Dominus susceptor est animi 
mei.' V. 6. 

33-34. 'Avert mala inimicis meis et in veritate tua disperde illos.' 
t;. 7. 

41-42. 'Voluntarie sacrificabo tibi et confitebor nomine tuo Domine 
quoniam bonum est.' v. 8. 

45-48. These Hnes are probably reminiscent of various prayers in the 
Mass. With 11. 45-46 cf . for instance : ' Supphces te rogamus . . . ut 
quotquot ex hac Altaris participatione, sacrosanctum Fihi tui Corpus et 
sanguinem sumpserimus omni benedictione caelesti et gratia repleamur.' 
Surtees Soc. 59-188. 

49-50. ' Quoniam ex omni tribulatione eripuisti me et super inimicos 
meos respexit oculus meus.' v. 9. 

54. Salve me, Lorde, of mercye and. In a diifferent hand, over an 
erasure ; indistinct. 

57. The Gloria Patri which follows the Psalm in the Prymer. 

59. The hne is partly erased. 

22 

Printed, Furnivall, E. E. T. S. 1 5^-133. 

3. />e werlde, my flesch, />e fende, felly. Very common in religious 



172 

treatises. Maskell (II, 145) has an interesting note on the wood-cuts 
that appear before the ninth lesson, Offices of the Dead, in the printed 
editions of the Prymer. ' Commonly we find a woman with a child in 
her arms, before whom are placed the evil spirit, a man holding a globe, 
and a woman with flowers in her hand. . . . The verses below are : 

' "A chylde that is in to this worlde comyng, 
Is hardely beset with many a fo : 
Whiche euer is redy to his vn-doyng, 
The worlde, the fleshe, the deuyll and dethe also.'" 

18. Cf. 9-15, note. 

25. To pi lyknes foou has me made. Also 1. 61. Cf. the prayer in the 
Commendationes Moriuorum: ' Antequam nascere novisti me; ad im- 
aginem tuam, Domine, formasti me.' York Manual, Surtees Soc. 63-93. 
The thought, which of course is Bibhcal, is very common in hturgical 
prayers. 

28. A reminiscence from the absolution. Cf. 2-10, note. 

52. or more or lesse ilke day to synne. Cf. the famous response : 'Pec- 
cantem me quotidie.' 

57. Dispyce me no}i, swete lorde ihesii, \ I am f>e warke of pin aghen 
hende. Cf . the antiphon in the Exseq. Defunct. : ' Opera manuum tuarum, 
Domine, ne dispicias.' Surtees Soc. 63-63. 

61. pou has me made to pi lyknes; \ thurgh synne I hafe loste heuenly 
mede. Cf . St. Edmund : * Wit {'ou |>at when God made all creaturs of 
noghte, we rede noghte bat he made any creature till his lyknes bot man 
allanne. . . . Bot as tyte als we twyn fra >at lele lufe, for lufe of Ms lyfe 
... we losse be lordeshipe of bis worlde, and becommes thralles dreryly 
to be deuelle, bare we ware be-fore fre, and ayers of be erytage of be 
kyngdom of heuen. . . . Bot when he hade made vs man, and gafe vs )>e 
saule to his awen lyknes ... for to be ayers of be erytage of heuen.' 
Mirror, E. E. T. S. 26*-3i. 

71-74. Liturgical; cf. 4-29, note. 

89. Myne heretage forsoth pat is. Cf. note above : 'for to be ayers of 
be erytage of heuen.' 

106. pou art my lorde, pou art my brother. Also 40-10. Cf. Matt. 
12. 50 : ' For whosoever shall do the will of my Father which is in heaven, 
the same is my brother, and sister and mother.' 

III. Cf. the Litany for the Dying: 'Libera, Domine, animam servi 
tui, sicut hberasti Sussannam de falso crimine.' York Manual, Surtees 
Soc. 63-56*. The reference was rather popular ; thus, Custance in the 
Man of Lawe's tale appeals to God: 'Immortal god, that savedest 
Susanne Fro false blame,' etc. Skeat, IV, 148. 

143-144. Cf. Matt. 5. 39 ff. : 'But I say unto you. That ye resist not 
evil : but whosoever shall smite thee on thy right cheek, turn to him the 



173 

other also. . . . Love your enemies, bless them that curse you, do good 
to them that hate you.' 

159 ff. Cf. Matt. 7. 21: 'Not everyone that saith unto me, Lord, 
Lord, shall enter into the kingdom of heaven ; but he that doeth the will 
of my Father which is in heaven.' 

170. 6* wot neuere whore, ne how, ne when. This thought formed the 
substance of many popular rhymes. Cf . these verses of the early thirteenth 
century, found in MS. Arundel 292 : 

' Wanne I ^enke twinges "Sre, 
Ne mai hi nevre bU5e ben ; 
tSe ton is dat I sal awei, 
"Se toSer is I ne wot wilk dei, 
"Se ^ridde is mi moste kare, 
I ne not wider I sal faren.' Rel. Antiq. I, 235. 

The idea can be traced back to St. Gregory. 

23 

Printed, Horstmann, E. E. T. S. 98-29. This poem has an analogue, 
or more probably a source in an unpubHshed French poem of 48 lines in 
Bodley MS. 57, fol. 6 d. A variant of the Bodley poem, but later and of 
only 13 verses, is found in Digby MS. 86, fol. 200, v°. It is to be noted 
that in both the Bodley and Digby MSS. the poem is ascribed to St. 
Edmund of Canterbury, author of the Speculum Ecclesiae. M. Meyer 
(Romania 35-575) seems to doubt this ascription of authorship ; he says : 
*Est-il I'auteur de la priere qui lui est attribuee . . . ou bien n'avons- 
nous ici qu'une traduction en vers d'une priere composee en latin pour 
ce saint personnage, c'est ce que je ne saurais dire. Quoi qu'il en soit, 
cette oraison n'est pas mentionnee dans Particle que lui a consacre 
I'Histoire litteraire (XVIII, 253-269).' Thomas Tanner, however, in 
his Bihliotheca Britannico-Hihernica, quoted by Mr. T. A. Archer in the 
Dictionary of National Biography, mentions a French prayer, 'Oratio,' 
and refers to MS. Omn. Anim. Oxon. No. 11. None of the catalogues 
of All Souls College, Oxford, that I have consulted contains any reference 
to such a poem ; Tanner may be referring to the Bodley or Digby poem. 
There is a curious similarity in thought, phrasing, and religious emotion 
between this prayer and certain parts of the Speculum; there can be little 
doubt that St. Edmund is the author of the poem. The saint wrote other 
works in French, so the use of that language instead of Latin need cause 
no surprise. For further bibliography see: P. Meyer, Notice du MS. 
Bodley 57, Romania 35 (1906) 577; Stengel, Codicem Digby 86, p. 102; 
T. A. Archer, Diet, of Nat. Biog. s.v. Edmund (Rich) Saint. I print the 
beginning and close of the French poem from M. Meyer's description in 
Romania. 



174 



i Oracio sancti Eadmundi archiepiscopi Cant. * 

Diiz sire Jhesu Crist, aiez merci de mei, 
Ke del eel en tere venistes pur mei, 
E de la virgine Marie nasquistes pur mei, 
E en la croiz mort suffristes pur mei. 

Merci vus cri, mun Jesu, mun sauveur, 

Mun solaz, mun confort, ma joie, ma ducur. 

Osteiz de mun quer orguil, ire e rancur, 

Ke jo vus puisse a gre servir e amer cum Seignur. 

Mut vus dei ben amer kar vus me amastes avant. 
****** 
1. 44 Pur mei mesmes vus requer e pur tut mes amis, 
Numeement pur N. et pur les autres morz e vifs : 
Mustrez nus el jugement la clarte de vostre vis 
E mettez nus trestuz ensemble en la joie de paradis. Amen. 

24 

Printed, Horstman, R. R. I, 368. '1 

25 

Printed, Horstmann, E. E. T. S. 98-16. Variant, MS. Thornton, fol. 
211, v° ; printed. Perry, E. E. T. S. 26-75 5 ^.Iso Horstman, R. R. I, 365. 

36. Grace was a special attribute of the Holy Ghost ; cf. 5-84, note. 

39-40. ffor Marie hue, pat Maiden fre, \ In whom pou lihtest, verrey- 
ment. Also: 66-21; 67-7; 30-18. Cf. Luke i. 35: 'And the angel 
answered and said unto her, The Holy Ghost shall come upon thee, and 
the power of the Highest shall overshadow thee.' 

41. ladi Meoke and mylde. Also: 63-4; 32-35; 60-21; 64-10; 
66-1 ; 67-1 ; 67-21. These constantly used epithets for the Virgin are 
thoroughly Hturgical ; they go back ultimately to the Magnificat (Luke i. 
46-55) used in evensong in the Horae, BVM., and in other services, in 
which Mary sings : ' Quia respexit humihtatem ancillae suae ; ' rendered 
'For he bihelde the mekenesse of his handmaide.' Cf. also the hymn, 
Virgo singularis, the first verse of which is translated in the Prymer: 
'Maiden aloone meek among alle othir.' Mask. H, 68. 

49. Mayden dene. Also: 60-5; 67-50. All these epithets come 
directly from the liturgy, where the purity of the Virgin is constantly 
celebrated. Cf. the response in the first lesson of the Horae, BVM. : 
'Hooh maidenhood and with oute wem.' Mask. H, 10. 

58. Of alle wimmen f?ou her est pe flour. Also : 63-43 ; 63-11 ; 64-1. 
These expressions, though influenced by French poetry, are ultimately 
liturgical in origin ; cf. the antiphon, Aue regina celorum, ' o marie, flour 
of virgyns as the roose or the lilie.' 



175 

64. Me hi-houe/f foou beo my counseilour. Also : Of kare counseil f>ou 
ert best, 32-10. This idea may be liturgical in origin; cf. the Prymer, 
An Orisoun to oure ladi : ' Modir of chast counceil ; ' the prayer, how- 
ever, is late, and I am inclined to think the idea in the places quoted 
above may have been influenced by French secular poetry, where it con- 
stantly occurs ; cf. Bern MS. 389: 'Ne sai consoil de ma uie | se dautrui 
consoil nen ai 1 car cil mait en sa baillie | cui fui et seux et serai | por 
tant seux sa douce amie.' Wackernagel, xxxiii, 53. 

91-92. Liturgical; cf. 2-10, note. 

loi £f. Liturgical ending. Cf. 5-63, note. 

26 

Hitherto unprinted. Described, Cat. of the Harl. MSS. II, 177. 
Variant, Lambeth MS. 583, p. 54; printed Furnivall, E. E. T. S. 24-18. 
The Lambeth poem is 14 lines longer, and is in many ways abetter version. 

1-4. A paraphrase of the opening of the Creed; cf. a similar para- 
phrase in Mask. II, 242 : 'I byleue stedfastely in my lord god almyjhty, 
that is fadur and sone and holy goost, thre persones and on god.' 

8. Lambeth MS. : In feis world is hard aventure. 

9-10. For who so most ys in assure \ Sonnest is slayne And shent. 
A reference perhaps to Proverbs 16. 18 : 'Pride goeth before destruction, 
and an haughty spirit before a fall.' 

11-12. Whan thou this world with fyre shalt pure \ do mercy to fore thy 
jugement. Cf. the response after the fifth lesson, Vig. Mort.: *Ne re- 
corderis peccatamea, Domine, Dum veneris judicare saeculum per ignem.' 
Surtees Soc. 63-70*. Whan: the Lambeth MS. has Or which makes a 
better reading, but lacks the literal translation that the Harleian poet 
seems to have preferred. 

13-16. A translation and amplification of the versicle in the famous 
responsorium after the ninth lesson, Vig. Mort.: 'Nunc, Christe, te peti- 
mus miserere, quaesumus, qui venisti redimere perditos, noli damnare 
redemptos.' Surtees Soc. 63-71*. 

17-18. Cf. the response after the eighth lesson: 'Quia in inferno 
nulla est redemptio.' Ibid. 

25. We aske mercy of rightnesnesse ; i.e. of the righteousness of God. 
With 11. 25-26 cf. Rom. 10. 3-4: 'For they being ignorant of God's 
righteousness, and going about to establish their own righteousness have 
not submitted themselves unto the righteousness of God.' 

35. Cf. 22-33, note. 

38. mercy A boue thy workes alle. Cf. the Craft of Deyng: 'fore godis 
mercy is abwne al his werkis, and he may nocht deny mercy treuly 
askyt.' E. E. T. S. 43-3. 

39. Cf. St. Edmund's Mirror: 'ffor whene we ware twynnede fra 
Godde, our sweteste ffadire, and be-come thralles to ^e ill gaste, than he 



176 

. . . sente his awen Sonne . . . and one Ms manere did he >e dede.' 
E. E. T. S. 26''-32. 

48-54. Probably from St. Edmund: 'To summe, beoing wi}>-oute 
more, as to stones ; to summe beoing and liuing, as to treon ; to summe 
beoing, liuing, and felyng, as to beestes ; to summe being, Huing, felyng, 
and vnderstonding, as to Angeles and to Mon. . . . Men haue beo- 
inge wi> stones, Liuynge wib herbes, ffelynge wib Beestes, Resoun wi> 
Angeles.' Horstman, R. R. I, 245. The thought, however, originated 
with St. Gregory. It occurs three times in his works, whence it was often 
quoted. Gower cites it thrice. Cf. Mr. Macaulay's note on 11. 945 ff. 
of the Prologue of the Confessio Amantis. 

55. Lambeth MS. has : poii haddist pat alle schulde midtiplie. But we 
hen fals &" necligent. With this cf. St. Edmund in the same paragraph 
from which the above is taken : ' and thynke how it es grete myghte to 
make all thynges of noghte and ... to multyply bam ilk a day for oure 
prowe. A ! mercy Godde ! how we are vnkynde ! . . . We distruy 
bam ilke a day & he bam multyplies.' 

59 ff. Cf. the prayer in the Mirror: 'In manus tuas Domine . . . 
commendo in nocte (vel die) animam meam et corpus meum et patrem 
et matrem, fratres et sorores, amicos familiares . . . custodi nos, Domine 
in hac nocte, (vel die) per merita & intercessionem beate Marie et omnium 
sanctorum, a vicijs, a concupis[c]encijs, a peccatis, et temptacionibus 
diaboU.' E. E. T. S. 26^-19. 

65. Cf. the Litany for the Dying: 'Ab hoste iniquo: libera et de- 
fende animam ejus, Domine. Ab insidiis et laqueis diaboH, Hbera et 
defende animam ejus, Domine.' Surtees Soc. 63-54*. 

69. Cf. the versicle after the ninth lesson, Vig. Mort.: 'Quid ergo, 
miserrimus, quid dicam vel quid faciam Dum veneris judicare saeculum 
per ignem?' And the paraphrase of these lines in No. 12: 'Ich am 
overgard agast, and quake al in my speche.' 

67. There is no such promise in the Gospel narratives nor in any of 
the religious treatises that I have read. The passage has evidently been 
corrupted in copying, for the Lamb. MS. reads: ^ And siiffre him not 
oure soule away to take \ For whiche on roodc foou were torent.' The poet 
was perhaps forced into the assertion of 1. 67, after having written the 
preceding line, by the necessity of a rhyming word iov jugement in 1. 70. 
With 1. 67 cf . Hebrew 13. 5 : ' For he hath said, I will never leave thee nor 
forsake thee.' 

75-76. Liturgical. 

77. Cf. Mark 16. 16: 'He that beheveth, and is baptized, shall be 
saved.' 

81. Cf. the Prayer in the York Horae : 'Domine iesu Christe . . . 
pone passionem . . . inter iudicium tuum et animas nostras.' Cf. 10, 
note. 



177 



27 

Printed, Boddeker, 193 ; previously, Wright, Spec, of L. P., Percy 
Soc. 4-59. 

10-15. The setting proper, which has been influenced by the French 
lyric setting ; cf . Introduction, p. 39. 

26-27. Liturgical ending. 

28 

Hitherto unprinted. Described, Gregory Smith, Spec, of Mid. Scots, 
p. Ixx. Variant, Balliol MS. 354 fol. i44r°-i45r° ; printed, Fliigel, AngHa 
26 (1903) 157 ; Dyboski, E. E. T. S. E. S. 101-52. 

1. To the, maist peirlas prince of pece. Cf. Is. 9. 6: 'For unto us 
a child is born, unto us a son is given : and the government shall be upon 
his shoulder: and his name shall be called Wonderful, Counsellor, 
The mighty God, The everlasting Father, The Prince of Peace.' 

3. Let neuir thi micht be merciles \ Til man that thou has maid of clay. 
Also: To take my kuynde of clay, 23-11. Cf. the third lesson, Vig. 
Mort. (Job X.) : 'Manus tuae fecerunt me, et plasmaverunt me totum 
in circuitu . . . Memento, quaeso, quod sicut lutum feceris me.' 

8. Miserere mei, Deus. Undoubtedly from the response after the 
seventh lesson, Vig. Mort.: 'Miserere mei, Deus et salve me.' 

10. Sail fallou and faid | as dois a flour. This idea is prominent in 
the religious and moral poems of the fifteenth century, especially in those 
which employ the Ubi sunt motive. Nearly all such passages in Middle 
EngUsh poetry seem to have been influenced by the lessons from Job in 
the Ofl&ces of the Dead. Cf. with stanza 2 the fifth lesson: 'Homo 
natus de muliere, brevi vivens tempore, repletur multis miseriis, Qui 
quas flos egreditur, et conteritur, et fugit velut umbra et numquam in 
eodem statu permanet.' 

14. Erasure or imperfection in MS. 

50. Mary consawit throw gabriell stevin. Cf . the Prymer : 'Heil thou, 
virgyne modir of crist, that bi eere conceyuedist : thur j gabriels message. ' 
Mask. II, 73. 

57. Thou lat thi pece spred and spring. A welcome relief from the line 
ever present in the poems of Jacob Ryman, and elsewhere, Let thy pity 
spread and spring. The Balliol MS. has the conventional verse. 

61. Cf. John 19. 19 : 'And Pilate wrote a title, and put it on the cross. 
And the writing was, Jesus of Nazareth, The King of the Jews.' 

29 

Printed, Furnivall, E. E. T. S. 117-755 '» previously in Archiv 97 (1896) 
311. A ryme-beginning poem. Furnivall. 

2. haf pite of me and merci I Quite in the mood of the French secular 
lyric. 

N 



178 

7- Liturgical ; cf. 3 -10, note. 

8. The connected stanzas indicate French influence ; cf . Introduction, 
p. 32. 

13 ff. Cf. the Litany for the Dying: ' Ab incursu maUgnorum spiritum: 
libera et defende animam ejus Domine.' Surtees Soc. 63-54*. 



30 

Printed, Morris, E. E. T. S. 53-255. Date, 'before A.D. 1300.' 
Morris. 

1. Edi heo pu. Cf. the Salutation, Bcnedicta tu, which is found as 
the first line of many responses and versicles in the Horae, BVM., as e.g. 
after the first lesson, 'Blessed be thou among alle wymmen.' Mask. 
II. 10. 

heuene queue. Also: 14-11; 32-33; 64-18; 66-41. All these 
passages go back ultimately to the liturgy ; cf . the Sequentia, in die Purif. : 
'Virgo . . . regina caeli.' Surtees Soc. 60-20. 

2. folkesfroure b' engles Mis. Cf. with 11. 1-2 the York Missal, In die 
assump.: 'Benedicta tu in mulieribus | Quae peperisti />acew /jowzm&ws 

I Et angelis gloriam.^ Surtees Soc. 60-83. 

3 . Moder unwemmed &" Maiden dene . Cf . the Horae , B VM . , response : 
'Aftir the birthe thou dwelledist unwemmyd virgyne.' Mask. II, 54. 
Cf. also 25-49, note. 

5-7. These lines may have their ultimate origin in the liturgy in the 
responses of the Horae, BVM., but they are in spirit essentially in the 
manner of French lyric poetry ; one is tempted to say that they owe little 
to the liturgy. 

7-8. The last two lines of each stanza form a kind of refrain. The 
spirit is entirely after the manner of the chansons d^amour. 

9. /ni aste}e so />e dai} rewe. Cf. the Prosa, De Assump. B. M. : 'velut 
sol micans cuncta conscendisti globorum luminaria, lucerna nitens inter 
choros angelorum.' Date, 994-1017. Surtees Soc. 60-294. 

11-12. Cf. John I. 4 ff. : 'in ipso vita erat, et vita erat lux hominum. 
Et lux in tenebris lucet . . . erat lux vera, quae illuminat omnem homi- 
nem venientem in hunc mundum.' 

16. 6" haue merci of /nn knicht. A delightful touch — and one that 
shows incidentally, not that English chivalry enters into these poems, but 
rather that French lyrics find their truest expression in English in Uttle 
echoes heard now and then in the fines of poets who have caught the 
spirit without being unduly fettered by a sense of form. 

17. Cf. Is. II. 1-2: 'A rodde shall sprynge out of the rowte lesse; 
and out of the rowte therof shall sprynge vp a flowre, and therevpon 
shall reste the spyryte of the lorde.' As rendered in the Myroure of oure 
Ladye, E. E. T. S. E. S. 19-147. 



179 

22. ic am fei mon. An expression translated literally from French 
secular poetry, and also frequent in the Middle English love songs, 

25 ff. Evidently from an anthem used at times in the Horae, BVM. ; 
rendered in the Myroure of oure Ladye: 'Blyssed be thow most worthy 
sower that haste sowen a grayne of the beste whete in the best lande 
wette wyth the dew of the holy goste.' E. E. T. S. E. S. 19-201. 

41. /fu ert icumen of he}e kunne \ of dauid pe riche king. After the 
manner of the French lyric poet who was accustomed to celebrate the 
high rank and birth of his lady. Cf. Introduction, p. 34. The idea, of 
course, is here both liturgical and scriptural, 

49. Swetelic ure loured hit di^te \ feat /m maide wifS-ute were. A com- 
mon theme in liturgical devotions. Cf. the Horae, BVM.: 'Oratio. 
Almyjti euerlastynge god, that wonderli thur) the hooli goost madist 
redi bodi and soule of the gloriouse virgyne modir marie : that she de- 
seruede to be maad the worthi dwellynge place of thi sone.' Mask. II, 
73. Swetelic, margin has, Seolcudliche, i.e. treowe. 

51-52. pat al pis world bicluppe ne nii}te \ pu sscholdest of pin hoseme 
here. From the third lesson, BVM.: 'Hooli modir of god, that de- 
seruedist worthili to conceyue him that al the world myjte not holde.' 
Cf . also the response after the first lesson : ' For him that heuenes myjten 
not take thou beer in thi wombe.' Mask. II, 10. 

53. pe ne sti}te, ne pe ne pri}te \ in side, in lende, ne elks where. Cf. 
Horae, BVM. : 'Heil thou, for ful with god, childedist withoute peyne.' 
Mask. II, 74. Cf . also St, Bernard : ' Conceptus fuit sine pudore, 
partus sine dolore.' Serm., In vig. nat., 4, 3. 

55. pat wes wifi ful muchel ri}te \ for pu here pine helere. A para- 
phrase evidently of a portion of the Beata es, Horae, BVM,: 'Blessid 
art thou virgyn marie . . . thou hast getyn hym that made thee.' 
Mask. II, 61. 

31 

Printed, E. E. T. S. 49-158 ; previously, Wright, Owl and Nightingale, 
Percy Soc. 11 (1843) 65. Variants: {A) T. C, C, B. 14. 39; printed, 
Chambers and Sidgwick, 94; {B) Jesus Coll, Oxford, I, 29; printed, 
Morris, E. E. T. S, 49-159. 

1-3. On the influence of French lyric forms on this poem, cf. Intro- 
duction, p. 36. 

31-32. Cf. the Poema Morale: 'Vnnet lif ich habbe iled . . . wel 
ful sare ich me adrede.' 11. 5-6. Cf. also 7-4. There are other parallels 
between this poem and No, 7, but they are hardly striking enough to be 
convincing. 

32 

Printed, Morris, E. E. T. S. 49-194; previously, Wright, Rel. Antiq. 
1,89; also printed, Matzner, 53; Chambers and Sidgwick, 92; Stobart, 
Chaucer's Epoch, 15, 



180 

2. velud maris steMa. These Latin caudae are reminiscences of famous 
proses, sequences, hymns and other devotions connected with the various 
services of the Virgin Mary. It is to be noted that the Latin words are, 
as a rule, carefully worked into the poem and not merely inserted as in- 
laid ornaments. The poet did not consciously borrow, culhng phrases here 
and there from hymns, to suit his fancy, but rather he composed a poem 
in which he expressed part of his thought in Enghsh, part in Latin. That 
a few — and only a few — of these caudae happen to be found in the 
hymns proves nothing beyond the fact that the author was an orthodox 
church-going Christian who was accustomed to hear hymns in honor of 
the Virgin daily, and often several times daily. Cf. Introduction, p. 25. 
With 1. 2 cf. almost any devotion of the Horae, BVM., especially the first 
line of the famous hymn, Ave Maris Stella. 

3. Bri}ter pan pe day-is li}t. The comparison of Mary to the Hght 
of day is a favorite one in all medieval poetry, and owes its origin probably 
to the early sequences; cf., for instance, the Prose, De Assump. B. M. : 
' rosa processit sicut sol. Oritur, ut lucif er inter astra decoravit polorum 
sidera.' Date, c. 1000. Surtees Soc. 60-294. 

4. parens et puella. Cf . the first lesson in the Horae : ' Modir and 
daujter ' ; also later : 'modir and virgyne.' Mask. II, 10. I regret that 
I have no Latin Horae available from which to quote these phrases. 

19. Cf. the hymn, gloriosa, Horae, BVM.: 'Quod Eua tristis 
abstulit, Tu reddis almo germine.' Mask. II, 24, note 53. 

33 

Printed, Boddeker, 213; Wright, Spec, oj L. P. 87; Chambers and 
Sidgwick, 97. 

1 ff. On the setting, see Introduction, p. 2>?)' 

30. /mrh hire medicine. With this title for Christ, if we may call it 
such, cf. the antiphon in the Horae; 'Suche a deeth undir^ede the 
medicyn of Hif.' Mask. II, 64. 

33. hire erbes smullep suete. This manner of speaking of Christ and 
Mary is both liturgical and patristic. Thus St. Bernard celebrates the 
'fragrance of this odorous fruit' (Hom. iii on the Missus est) ; and the 
Horae, BVM., has the significant Capitulum: 'As cauel andbawme swote 
smellynge I jaf swoot odour : as triede myrre I jaf swetnesse of smelly nge.' 
Mask. II, 68. The theme is perhaps more popular in French religious 
poetry than in English. Cf. for instance a song in the Bern MS. 358: 
'Tu ies bames natureis. douls miels et laituaires. tu ies pimens sauoreis. 
pucelle debonaire. noscuers purge et esclaire.' Wackernagel, xlv, p. 69. 

34 

Printed, Fehr, Archiv 106 (1901) 276. 

2 ff. peccantem me cotidie . . . Timor mortis conturbat me . . . saluum 



181 

me fac, domine. From the response after the ninth lesson, Vig. Mort. : 
' Peccantem me quotidie et non repaenitentem timor mortis conturhat me. 
. . . Deus in nomine tuo salvum me fac' 

10. parce michi, domine. From the first lesson (Job vii,), Vig. Mort.: 
'Parce mihi, Domine.' 

12. Fehr prints bozsteste, presumably for bo}steste, or better bo}test{e). 

35 

Printed, Fliigel, Anglia, 26 (1903) 193 ; previously, Wright, Songs and 
Carols, Percy Soc. 23-74. The three following poems, 35, 36, and 37, 
have close relations. The parallels between 36 and 37 have been pointed 
out by Professor Fliigel, and are so evident that I have not repeated them 
in detail ; the ideas that are common to all three poems will be found 
below. The facts, that in no case do the Unes exactly correspond, that 
in only one stanza are the rhyming words the same (36, st. 7, and 37, 
St. 6), that the rhyme scheme is always the same, that the meter is always 
identical, and that 37 is a partial translation, part of the line being left 
in the Latin, the other part translated (cf. Mr. Chambers' essay in 
Chambers and Sidgwick), — all these facts are pretty conclusive evi- 
dence that there existed a number of these poems, all closely alike in 
ideas, all employing the same refrain, the same meter, the same rhyme 
scheme, aaaB, and quite probably written originally in Latin. With 
these poems should be grouped: (i) Dunbar's Lament for the Makaris. 
(Cf. 37, note.) (2) Lydgate's Timor Mortis Conturbat Me. (Printed 
here.) (3) An unpublished poem in MS. Porkington, No. 10, fol. 195, 
with the same refrain ; described, Madden, Syr Gawayne, p. Ixii. The 
poem is composed of twelve stanzas of twelve lines each, which renders 
it probable that, like Lydgate's poem, it has little actual connection with 
the typical Tifnor Mortis poems. (4) An unpublished poem in a MS. 
belonging to the Marquis of Bath ; described, Hist. MSS. Com., Ill, t8o : 
'A poem beginning, Timor mortis conturbat me.' (5) An unpublished 
poem in the Audelay MS. ; described AngHa, 18-21 1. 

6. From the response after the seventh lesson; cf. 34-2, note. 

11. A most popular bit of argument; cf. 22-170, note. 

19. Jhesu cryst whan yat he shuld sofer hys passyon, \ To hys fader he 
seyd with gret deuocyon, \ Thys is ye causse of my intercessyon : \ ye dred 
of deth do troble me ! Cf. 36, 15-19 : 'Jhesu cryst whane he schuld dey 
I to hys fader he gan sey: | fader, he sayd, in trinyte | timor d'c.;' 
also 37, 15-17, 'Christus se ipsum, whan he shuld dye, | Patri suo his man- 
hode did Crye: | Respice me, pater, that is so hye, | terribilis mors.' 
A reference doubtless to the agony in the Garden. 

23-25. Cf. 36, 19-21; also 37-20: 'Due me from this vanyte,' 

31-33. Cf. 36, 27-29; also 37, 11-13. 



182 



36 

Printed, Fliigel, Anglia, 26 (1906) 192 ; Wright, Songs and Carols, 
Percy Soc. 23-57. Variant, only four stanzas, Balliol MS. 354; printed, 
Fliigel, Anglia 26 (1906) 192 ; Dyboski, E. E. T. S. 103-3 ; Chambers 
and Sidgwick, 150. 

37 

Printed, Flugel, Anglia 26 (1906) 259; Dyboski, E. E. T. S. E. S. loi- 

36. Chambers and Sidgwick, 149. 

1-8. Cf. the general content of 36, 1-8. 

9. Corpus migrat in my sowle. Cf. 35-15: 'Whan my sowle & my 
body departyd shallbe.' 

Editors of Dunbar have failed to notice that the Lame^itfor the Makaris 
is intimately connected with the group of poems represented by the three 
preceding lyrics. David Laing in trying to throw Ught on the source 
of the Lament said ' that the refrain, Timor mortis conturhat me, is taken 
from a poem by Lydgate beginning: ''So as I lay the other night. '" 
(Quoted by Gregor, Scott. Text Soc. Poems of Dunbar, III, 91.) A 
comparison of the Lament with Lydgate's poem, here printed for the first 
time, will reveal the fact that there is probably no connection between 
the two poems; their stanzaic structure is totally dififerent, and their 
content is remarkably unlike. It is hard to beUeve that Dunbar had ever 
seen Lydgate's poem. Mr. Gregor evidently felt that the connection 
with Lydgate was not entirely proved, for he goes on to suggest that 
'the poet may have had in mind the words, " Circumdederunt me dolores 
mortis," Ps. cxiv. 3 (cxvi. 3). Buchanan translates, "Jam mors ante 
oculos erat." Cf. Ps. liv. 4.' He may have had such a passage in mind, 
it is true, but it is far more likely that, Uke the poets of Nos. 35, 36, and 

37, he could not escape the words of the awful responsorium. Further- 
more it has been established in the notes to the Timor Mortis poems that 
there was in all probability a body of these lyrics, written originally in 
Latin, and all more or less closely related. The parallels pointed out 
below between the Lament and the three poems in the text prove almost 
conclusively that Dunbar here, as in the Tahill of Confessioun (cf. note 
to No. 3), has taken his suggestion and general content from popular forms 
of religious poetry, but with a poet's genius has adapted those conven- 
tions to his own needs. In comparing the Lament with the Timor Mortis 
poems it is to be observed that the stanza in each case is composed of 
three lines and a refrain ; that the meter is the same, and that the rhyme 
scheme, though different, is not radically so. In content the poems have 
the same general tone and the same lyrical emotion. The resemblances 
in wording are not striking, though the thought is often similar. The 
following parallels between the Lament and Nos. 35, 36, and 37 are sug- 
gestive : 



183 

Lament, 1-4: / that in heill wes and glaidness \ Am truhlit now with 
gret seikness \ Atid fehlit with infirmite \ Timor Mortis conturbat me. 

Cf. No. 37, 1-4: ^ Ilia juvcntus that is so nyse \ Me deduxit into vain. 
Devise; | Infirmus sum, I may not Rise | Terribilis mors conturbat 
me.' Also : 'lam ductus stim in to my bed.' Ibid, 9. 

Lament, 5-6 : Our plesaunce heir is all vane glory, \ This fals warld is 
bot transitory. 

Cf. No. 35, 24-25 : 'Thys world is butt a chery fifare | Replett with 
sorow & fulfylled with care.' Also: 'Due me from this vanyty.' 37-20. 

Lament, 7 : The flesche is brukle, the Feynd is sle. 

Cf. 37, 12-13 : 'Respicit demon in his Rowle, | Desiderat ipse to haue 
his toUe.' 

Lament, 17-20: Vnto the deth gois all estaitis \ Princis, prelattis and 
Potestaitis | Bayth riche and pure of all degree \ Timor Mortis conturbat 
me, 

Cf. 35, 7-10: 'I haue be lorde of towr and towne | I sett not be my 
gret renowne ; fiEor deth wyll pluck[yt] all downe ; The dred of deth do 
trobyll me.' 

In view of the provenience of the Latnent too much stress must not 
be laid on Schipper's statement that '. . . the general tone of it es- 
pecially the contents of the first stanza, where he says, v. 3, that he is 
feblit with infirmitie, make it [clear] that it was written by Dunbar in 
advanced age.' 

38 

Hitherto unprinted. Described, Cat. of Earl. MSS., p. 593; also, 
MacCracken, The Lydgate Canon, xxvi. 

44. pyacle, Latin, piaculum, a sin-offering, expiation. 

49-50. Cf. Exodus 34. 29-30, 33: 'Moses wist not that the skin of 
his face shone while he talked with him. And when Aaron and all the 
children of Israel saw Moses, behold, the skin of his face shone ; and they 
were afraid to come nigh him. . . . And till Moses had done speaking 
with them, he put a vail on his face.' 

51-52. Josue . . . that heng the kynges of Gabaoo7i. Cf. Joshua 10. 16, 
22, 26 : 'But these five kings fled, and hid themselves in a cave at Mak- 
kedah. . . . Then said Joshua, Open the mouth of the cave, and bring 
out those five kings unto me out of the cave. . . . And afterward 
Joshua smote them, and slew them, and hanged them on five trees: 
and they were hanging upon the trees until the evening.' 

53. Nor the noble myghty Gedeoon. Cf. Judges 6. 12 : 'And the angel 
of the Lord appeared unto him, and said unto him, The Lord is with 
thee, thou mighty man of valour.' 

57. Sampson that rent the lion \ On pecis smalle. Cf. Judges 14. 5-6 : 
'Then went Samson down, and his father and his mother, to Timnath, 
and came to the vineyards of Timnath ; and, behold, a young lion roared 



184 

against him. And the spirit of the Lord came mightily upon him, and 
he rent him as he would a kid, and he had nothing in his hand.' 

60. Cf. I Samuel 17. No Bible story was more popular in the Middle 
Ages, if we may judge by the constant references to it which we find. 
It formed the three lections of the first nocturn of the fourth Sunday after 
Pentecost, and was continued in the lections of Monday and Tuesday. 
It also formed the subject of one of St. Augustine's popular sermons 
(cf. Professor Manly's article, Familia Goliae, in Mod. Phil. Oct. 1907) ; 
and it is constantly referred to in the sacred Latin hymns published by 
Dreves. 

65 ff. Cf. Rev. 6. 8: 'And I looked, and behold a pale horse: and 
his name that sat on him was Death, and Hell followed with him. And 
power was given unto them over the fourth part of the earth, to kill with 
the sword, and with hunger, and with death, and with the beasts of the 
earth.' 

39 

Printed, Wright, Rel. Antiq. I, 57. Other metrical versions of the 
Lord's Prayer are: (i) MS. Gg. IV, 32. Bib. Cantab.; printed Wright, 
Rel. Antiq. I, 159. (2) MS. Hh. VI, 11, Cambridge Pub. Lib.; printed. 
ibid. 169. (3) MS. Arundel, 292, fol. 3; printed, z'^f^. 235. (4) MS, 
Cotton. Cleopatra, B. vi. fol. 201; printed, ibid. 22; also Maskell, II, 
238. (5) The Makculloch MS. f. 87 a; described, Gregory Smith, 
Spec, of Middle Scots, p. Ixviii. 

40 

Printed, Clark, E. E. T. S. 129-5. 

6. If we make dene oure tempil with-ynne. Cf. i Cor. 3. 16-17 • 
' Know ye not that ye are the temple of God, and that the Spirit of God 
dwelleth in you ? If any man defile the temple of God, him shall God 
destroy; for the temple of God is holy, which temple ye are.' Cf. 
also I Cor. 6. 19. 

41 

Printed, Morris, E. E. T. S. 53-258. A very free paraphrase of the 
Lord's prayer. 

1. Cf. 3-18, note. 

2. king of alle kinge. Liturgical. 

36. />u ert hele d* help 6* lif dr king of alle kinge. Cf . 3 i-i 1,12: ' pu art 
hele and Uf and liht | And helpest al mon-kunne.' 

42 

Printed, Wright, Rel. Antiq. II, 228. See No. 11, note. This poem, 
by friar William Herebert, is a close translation of the hymn, Ave Maris 
Stella, used in the services of the Horae, BVM., especially as the hymn 
in Evensong. 



185 

25-26. The Gloria Patri was regularly appended to all hymns in the 
services; translated in the Prymer : 'Preisyng be to god the fadir, 
worshipe to the hijest crist, and to the hooH goste : oon worship to hem 
thre.' Mask. II, 62. 

43 

Printed, Furnivall, E. E. T. S. 117-735. One of the most interesting 
and dehghtful paraphrases in Middle English. The structure of the 
poem is worthy of notice. Two stanzas of the paraphrase are devoted 
to each stanza of the original. In each case the first stanza is a closer 
paraphrase than the second, and in each case the first line of the first 
stanza is a close translation, and the second line is not a translation, but 
a suitable expansion of the first ; the third line goes back to the original, 
the fourth is an expansion, and so on through the eight lines. The last 
four fines have a different rhyme scheme, and serve as a kind of refrain. 
The second stanza attempts a re-paraphrasing in the same manner, 
except that the odd lines are usually much freer even than in the first 
stanza. There are many Latin hymns built upon the Ave Maris Stella 
(cf. Mone II, Nos. 496-500), but I can discover in them no signs of 
relationship with this poem. 

20. Out oj pis wopes dale. The Uturgical in this valei of teeris; found 
in the antiphon. Salve regina, and very frequently in Latin hymns and 
sacred poetry. It is not found elsewhere in these poems. With the 
general thought of 11. 20-24 may be compared the following responses and 
versicles from the same antiphon : 'Resp. celi. Fer^. Reiside aboue 
heuenes : and crowned of thi child in this wrecchid vale, to giltie be lady 
of forjeuenes. Resp. hooly. Vers. That he lose us fro synnes for the 
loue of his modir : and to the kyngdom of clernesse lede us the kyng of 
pitee.' Mask. II, 73. 

79. With the general thought of the remainder of the stanza may be 
compared the antiphon, gloriosa: 'O thou gloriouse modir of god, 
euer mayde that desseruedist to here the lord of alle thingis : and thou 
mayde aloone to jeue souke to the king of angels.' Mask. II, 26. 

93. Ladi briht, wif> eiyen gray. Eiyen gray are of course the only kind 
of eyes allowed to the beloved of the chansons d' amour ; likewise her 
complexion was always bright. 

129. Ladi . . . feir and f re. This epithet, which has been repeated 
with great frequency by EngUsh lyric poets (cf., for example, Milton, 
V Allegro, 'Goddess, fair and free'), was doubtless introduced into 
England from the French lyric poets. Cf. Bern MS. 389 : ' dame, douche 
et franche.' 

130. /m lilye whyt of face. Cf. the Sequence, In die Assump. B. M. : 
'Purpurea ut viola, roscida ut rosa, candens ut liHa.' Surtees Soc. 60- 
82. 



186 



44 

Printed, Wright, P>.el. Antiq. II, 229. See Nos. 11 and 42 and the notes. 
A translation of the hymn, Veni, Creator Spiritiis. Another version of 
this hymn is found in the Vernon MS. ; printed E. E. T. S. 98-43. 

45 

Printed, Simmons, E. E. T. S. 71-18. 

2. Litm'gical; cf. 2-10, note. 

4. po gode to chese 6* leeue />o ille. Ultimately from Is. 7. 15, 16: 
'refuse the evil and choose the good.' But the use of the quotation 
was very widespread, owing to its occurrence in patristic writings, es- 
pecially in the Mirror of St. Edmund. 

46 

Printed, Dyboski, E. E. T. S. E. S. 101-51 ; previously, Fltigel, 
Anglia, 26 (1906) 157. Maskell says: 'In the Salisbury Horae and 
Prymers is commonly found an Office to the "Proper Angel." ' It has 
never been pointed out that this poem is a free translation of the anti- 
phon, versicle, and response belonging to that office. 

1-3. Cf. the antiphon: 'Angele qui meus es custos, pietate superna: 
Me tibi commissum, salva, defende, guberna.' Mask. II, 268. 

9-13. Cf. '0 tu dulcis angele, qui mecum moraris, Licet personaliter 
mecum non loquaris. Animam cum corpore precor tuearis.' 

14. A reminiscence of the litany. Cf. 5-22, note. 

15. For pat ys thyn ofes. Cf. 'Tuum hoc est officium.' Ihid. 

16. Cf. : ' Vers. O beate angele, nuntie Dei nostri. 

Resp. Actus meos regula ad votum Dei altissimi.' Ihid. 

47 

Printed, Furnivall, E. E. T. S. 117-756 ; previously in Archiv 97 (1896) 
312. A rhyme-beginning poem. Furnivall. 

18. Hay tit. " ? for hantith, practises." Furnivall. 

48 

Printed, Furnivall, E. E. T. S. 117-744. 

I f!. This poem follows the general form for morning devotions which 
St. Edmund suggested in his Speculum. The first stanza is a free para- 
phrase of his Oratio in mane. I quote, however, the Prayer as given 
in a paraphrase in a treatise on Daily Work, printed in R. R. I, 145, which 
is nearer the form in the text : *I thank ^e, dereworthi lorde, with al mi 
hert: bat so vnworthi wreche bus has >emid bis night, & tholid me with hfe 
& hele bus abide bis dale (11. 3-4). I thanke be, lorde, of bis grete gode 
& mani ober,' etc. St. Edmund concludes : 'et pro alijs vniuersis bene- 



187 

ficijs tuis que michi tua sola pietate contulisti, qui viuis & regnas deus & 
. . . Dere frende in his same manere sail bou say when bou rysez at morne 
and when J>ou lygges down at evyn.' Mirror, E. E. T. S. 26''-i9. 

15. / be-iake />is day of me cure. Also : My body and soule I /^e he-take, 
1. 19. Cf. St. Edmund: 'And, dere frende, do na thynge in Ms Ifye till 
>ou commend ]>i selfe ... in the handis of thi swete Lorde Ihesu Criste , 
and say one his manere. In manus tuas, Domine . . . commendo in hac 
nocte (vel die) animam meam et corpus meum,' Ibid. 

20. /ns day, lord, kep me out of synnc. Cf . : ' custodi nos, Domine, 
in hac nocte (vel die) ... a peccatis.' Ibid. 

23-24. ffrom /d lawe />at I ne twynne | ne breke pi ten commaundements . 
Cf. : 'et fac me semper tuis obedire mandatis, & a te numquam separari 
permittas.' Ibid. 

25 ff. Cf. St. Edmund: 'Now, dere frende, be-fore matyns sail bou 
thynke of be swete byrthe of Ihesu Cryste alber-fyrste, and sythyn ef tyr- 
warde of his passion.' Ibid. 40. 

27-32. Cf. Oratio, translated: 'kepe vs, Lorde, in bis nyghte (or Ms 
day) . . . fra vices and fra wykked ^ernynges, fra synns and . . . fra 
be paynes of helle.' Ibid. 20. 

33-36. Cf. St. Edmund supra; also: 'Be-fore pryme, bou sail thynke 
of be passion of Ihesu . . . and bay bygan to dryfe hym till hethynge, 
and to fulle hym als a fule, and spite one hym in dispyte in his faire face; 
. . . and sythen asked hym whate he was bat hym smate.' Ibid, 41. 

41-44. Cf. : 'Of his passyon, sail bou thynke how be lewes ledde hym 
in- to baire counsajle, and bare false wytnes agayne hym, and put appone 
hym bat ... he had said bat he suld haue distroyde be temple of Godde, 
and make agayne anober with-in the thirde day.' Ibid. 

63-64. Patristic phrases much used by mystic writers. 

67-68. From the Confession; cf. 2, note. 

49 

Printed, Horstmann, E. E. T. S. 98-26. It has never been pointed out 
that this poem is a rendering of a prayer by St. Thomas of Aquinas. 
Prose translations of this prayer are frequent. Queen Mary translated 
it into good English prose in 'the xi yere of here age ' (Mask. II, 266). 
The original Latin follows : — 

' Oratio solita recitari singido die ante imaginem Christi. 

' Concede mihi, misericors Deus, quae tibi placita sunt ardenter con- 
cupiscere, prudenter investigare, veraciter agnoscere, et perfecte adim- 
plere ad laudem et gloriam nominis tui. Ordina statum meum, et quod 
a me requiris ut faciam, tribue ut sciam ; et da exequi sicut oportet et 
expedit animae meae. Da mihi, Domine Deus meus, inter prospera et 
adversa non deficere, ut in illis non extollar, et in istis non deprimar: 



188 

de nullo gaudeam vel doleam nisi quod ducat ad te vel abducat a te. 
Nulli placere appetam, vel displicere timeam nisi tibi. Vilescant mihi, 
Domine, omnia transitoria, et cara mihi sint omnia tua. Taedeat me 
gaudii quod est sine te, nee aliud cupiam quod est extra te. Delectet me, 
Domine, labor qm est pro te ; et taediosa sit mihi omnis quies quae est 
sine te. Frequenter da mihi, Domine, cor ad te dirigere, et in defectione 
mea cum emendationis proposito dolendo pensare. Fac me, Domine 
Deus, obedientem sine contradictione, pauperem sine defectione, castum 
sine corruptione, patientem sine murmuratione, humilem sine fictione, 
et hilarem sine dissolutione, tristem sine dejectione, maturum sine 
gravitate, agilem sine levitate, timentem te sine desperatione, veracem 
sine duplicitate, operantem bona sine praesumptione, proximum cor- 
ripere sine elatione, ipsum aedificare verbo et exemplo sine simulatione. 
Da mihi, Domine Deus, cor pervigil quod nulla abducat a te curiosa 
cogitatio. Da nobile quod nulla deorsum trahat indigna afifectio. Da 
rectum nulla seorsum obliquet sinistra intentio. Da firmum quod nulla 
frangat tribulatio. Da liberum quod nulla sibi vindicet violenta affectio. 
Largire mihi, Domine Deus mens, intellectum te cognoscentem, diligentiam 
te quaerentem, sapientiam te invenientem, conversationem tibiplacentem, 
perseverantiam fidenter te expectantem, et fiduciam te finaliter am- 
plectentem : tuis poenis hie affligi per poenitentiam, tuis beneficiis in via 
uti per gratiam, tuis gaudiis in primis in patria perfrui per gloriam. 
Qui vivis et regnas Deus per omnia saecula saeculorum. Amen.' 

Thomae Aquinatis . . . Opera omnia, Vol. XXXII, 820. 



50 

Printed, Fumivall, E. E. T. S. 117-733. 

I. In Somer bi-fore fje Ascenciun; i.e. some time in May or early June, 
Ascension coming the fortieth day after Easter. 

4- for fie pees fast gon I prai. 'For the pees' is the name of a collect 
used in Evensong. It was evidently so named from its chief petition : 
'Deus a quo sancta desideria, recta consiHa, et justa sunt opera: da 
servis tuis illam quam mundus dare non potest pacem.' Mask. II, 36. 

8. Mane nohiscum, Domine, formed the versicle for the fourth Sunday 
after Easter. This may be the Sunday to which the poet refers. 

II. In Concience and we he dene \ Digne /n, lorde, with vs to dwelle. 
Cf. 'Mentis nostrae sordes ablue, ut in nobis manere tu digneris.' MS. 
Bod. 775. Surtees Soc. 60-250. 

17-24. Cf. Luke 24. 13 fif. : 'Et ecce duo ex illis ibant ipsa die in 
castellum quod erat in spatio stadiorum sexaginta ab Jerusalem, nomine 
Emmaus. ... Et factum est, dum fabularentur et secum quaererunt, 
et ipse Jesus appropinquans ibat cum illis. ... Et respondens unus 
cui nomen Cleophas. . . . Appropinquaverunt castello, quo ibant et 



189 

ipse se finxit longius ire. Et coegerunt ilium dicentes : Mane nobiscum, 
quoniam advesperascit et inclinata est jam dies. Et intra vit cum illis.' 

75-76. Liturgical. 

77. From the Confession. 

51 

Printed, Horstmann, E. E. T. S. 98-34. 

2. Jje seuen yiftes of />e holigost. Cf. 3-73, note. 

52 
Printed, Furnivall, E. E. T. S. 24-15; Wiilcker, Alteng. Lesebuch, 
2-5. The popularity of this poem in the fifteenth century is evidenced 
by its many variants ; I have noted the following ; there are doubtless 
others : 

(A) Lambeth MS. 853 ; printed here. 

(B) Stonyhurst College MS. B. XLIII, ff. gS^'-gj'' ; printed, Hulme, 
E. E. T. S. E. S. loo-xxxviii ; eight stanzas of fours, and as usual sadly 
disarranged. 

(C) Vernon MS.; printed, Horstmann, E. E. T. S. 98-48; eight 
stanzas of fours, badly arranged. 

(D) MS. of the Marquis of Bath; unpublished; described. Hist, 
MSS. Com. Ill, 180. 

(E) MS. of Lord Leconfield; unpublished; described. Hist. MSS. 
Com. VI, 289. 

(F) MS. Trinity Coll. Camb. 1^^ ^^- ^^ fol. 162 b; unpublished; de- 
scribed, James, Western MSS. I, 419. 

(G) MS. Cotton. Vesp. A XXV ; printed, Lemcke's Jahrhuch, Neue 
Folge, III, III. 

1-2. Liturgical; cf. 2-4, note. The idea is very common in mystic 
treatises ; cf. R. R. I, 70 : *Lufe Ihesu, for he made ^e, and boght >e ful 
dere.' 

5. [is]. Furnivall prints 'in.' 

II. Several lines in this poem seem to be reminiscent of the Prayer 
of St. Thomas of Aquinas, a form of which is printed as No. 49. Cf. 
with this Hne: 'Fac me, Domine Deus . . . humilem sine fictione.' 

21. Ihesu, graunte me myne askinge, \ Perfite pacience in my disese. 
Cf. 'Da mihi, Domine Deus meus inter . . . adversa non deficere;' 
translated in No. 49 : 'And euere beo pacient in wo.' 

23-24. And neuere mote y do /?at />ing \ />at schulde fiee in ony wise dis- 
plese. Cf. : 'Nulli placere appetam, vel displicere timeam nisi tibi.' 

43. And sende hemfruytis of er/>elifode \ As ech man nedi/? in his degree. 
Cf . the Litany : ' That thou f ouche saaf to jyue and kepe the f ruytis of 
the erthe: we preien thee to heere us.' Mask. II, 104. 



190 

49- Thesu, />af art f>e goostli sioon \ Of at holi chirche in myddil er/>e. 
Cf. Matt. 21. 42:1, 'Jesus saith unto them, Did ye never read in the 
scriptures, The stone which'the builders rejected, the same is become the 
head of the corner.' Also i Peter 2. 6 : 'Wherefore also it is contained 
in the scripture. Behold, I lay in Sion a chief corner stone, elect, precious : 
and he that beheveth on him shall not be confounded.' 

5 1 . Bringe /nfooldis b'flockis in oon, \ A nd/ule hem ri}tli with oon hirde. 
Cf. John 10. 16: 'And other sheep I have, which are not of this fold: 
them also I must bring, and they shall hear my voice ; and there shall 
be one fold, and one shepherd.' 

53 

Printed, Perry, E. E. T. S. 26^-73 ; also Horstman, R. R. I, 364. 
' R. RoUe's authorship is beyond doubt.' (Horstman.) Some of the 
lines in this poem occur also in poems in the mystic tract, Ego dormio et 
cor meum vigilat. Horstman called attention to two parallel stanzas, 
to which I add other hnes. This poem and the following show the in- 
fluence of mystic thought and writings in almost every Une ; there is no 
need to seek for obvious parallels in mystic treatises. No. 53 consists in 
reahty of two lyrics — the first, extending to 1. 40, is a pure penitential 
lyric; the second, from 1. 40, is a song of love-longing. 

9. lesu Criste, Goddes so?ie of heuen. A phrase often used in patristic 
writings. 

17. lesu of whaym all gitdnes sprynges. Cf. Oratio, Inhumatio De- 
functi: 'Deus . . . de cujus munere venit omne quod bonum est, et 
procedet.' Mask. I, 127. 

38-40. Cf. Ego dormio: 'J?ow make me clene of synne, & lat vs neuer 
twyn ; kyndel me fire with-in, t^at I >i lufe may wyn.' i?. i?. I, 57. 

41-42. Cf. R. R. I, 58 : ' I?e I couete, bis world noght, & for it I fle ; 
bou ert bat I haue soght : H face when may I see ? ' 

45, 47. Cf. R.R.I, 57 : 'Ihesu . . . H lufe in to me send, bat I may 
with be lend.' 

46, 48. Cf. R. R. I, 60: 'in til M lyght me lede, and in thi lufe me 
fede : In lufe make me to spede, bat bou be euer my mede.' 

65-67. Cf. R. R. I, 60: 'Ihesu my dere & my drewry, delyte ert bou 
to syng : Ihesu my myrth & melody, when will bow com my keyng ? ' 
(Horstman.) 

68. Cf. R. R.l, $T. 'Ihesu, receyu my hert, & to H lufe me bryng.' 

69-70. Cf. R. R. I, 60 : 'Ihesu, my hele & my hony, my whart & my 
comfortyng : Ihesu, I couayte for to dy, when it es bi payng.' 

71-72. a. R. R.1,61: ' for lufe my bale may bete | And til hys blis 
me brynge.' 

73-76. Cf. R. R. I, 57: 'In lufe bow wownde my thoght, and lyft 
my hert to be : my sawle bou dere hase boght, R lufer make it to be.' 
(Horstman.) 



191 

54 

Printed, Furnivall, E. E. T. S. 15 -139. 

55 

Printed, Horstmann, E. E. T. S. 98-131. 

56 

Printed, Horstmann, E. E. T. S. 98-22. The two stanzas of this poem 
are usually found separately. Variants of stanza i are : (i) MS. Hari. 23 16, 
fol. 25, r°; printed, Wright, Rel. Antiq. II, 119. (2) Vernon MS. fol. 
CCXCIX, as Xhe. last stanza (32) of a long poem, A Mournyng Song of 
thi hue of God; printed, Furnivall, E. E. T. S. 117-476. (3) MS. of 
Lord Mostyn, No. 186. This variant is so interesting that I print it here. 
It is found in a MS. of a Latin Horae ad usum Ecclesiae Romae, about the 
middle of the volume : 

Ladye mary mayden swete 

that art so good and fayre and fre 

Wyth al myn herte I the beseeche 

for thi joyes to i thre. 

That also faste into myn herte 

mote thy love takyn be 

As was the sorwe in thyn herte 

tho yi leue sone duyed for me. 

Hist. MSS. Com. IV, 355. 

Variant of stanza 2, MS. Thornton, fol. 191^; printed, Horstman, 
R. R. I, 364. For an appreciation of the metrical skill shown in this poem, 
see Saintsbury, Hist, of Eng. Pros. I, 130. 

57 

Printed, Clarke, E. E. T. S. 129-4. 

2. And kepe vs from perel of synnes and payne. Cf. the Litany : 'Fro 
dredeful pereles of oure synnes : lord delyuer us.' Mask II, loi. 

10. Liturgical ; cf. 3-10, note. 

12-13. Probably an echo from St. Edmund ; cf. the Mirror, especially 
the following passage : 'here, I say, es takyn of gret lufe, hat he deyned 
hym to make vs till his awen lyknes righte als we had bene his awen chosen 
childyre ... he moghte hafe made vs at his will anykyn oher bestis, 
and >an had we dyede to-gedire bathe body and saule. Bot when he hade 
made vs man . . . now es na herte sa harde hat it na moghte nesche 
and lufe swylke a Godde with all his myghte.' E. E. T. S. 26''-3i. 

25. This petition from the Lord's prayer was often used ; it occurs in 



192 

a response in the Horae, BVM. : ' Versus. And lede us not in to tempta- 
cioun. Resp. But delyuer us fro yuel' Mask. II, lo. Cf. also the 
Litany: 'Ab omni m'alo, libera nos, domine.' 

. S8 

Printed, Zupitza, Eng. Stud, ii (1887) 423. For a careful study of 
the variant MSS. of St. Godric's songs, see the same. The poems are 
printed, Ritson, Bibliog. Poet. 1-4 ; Stevenson, Libellus de vita et miracu- 
lis S. Godrici, 288 (only one stanza of 59) ; and elsewhere. There are 
three English songs by the Saint, preserved in various Uves. The anony- 
mous legend in the Harleian MS. contains an interesting account: 'Die 
quadam raptus in exstasim, ab hora diei prima usque ad nonam palmas 
in coelum tenebat erectas, lacrimisque fluentibus invocabat Dei piissi- 
mam Genitricem, quasi praesentialiter assistentem. Saepe psallebat, 
frequenter orabat. Canticum plerumque dulcissimum decantabat, in 
cujus fine sic flebat, ut illud repetere non valebat. Illud a beatissima 
Dei Genitrice didicerat, sicut mihi postea secretius indicavit. Interim 
oravit hoc mode' Here follows the Latin of the first stanza of 59, then 
the EngHsh with musical notation. Ritson remarks in a note: 'By 
the assistance of the Latin versions one is enabled to give it literally 
in EngUsh, as follows : Saint Mary, chaste virgin, mother of Jesus Christ 
of Nazareth, take, shield, help, thy Godric ; take, bring him quickly with 
thee into God's kingdom. Saint Mary, Christ's chamber, purity of 
a maiden, flower of a mother, destroy my sin, reign in my mind, bring 
me to dwell with the only God.' More exhaustive comment is omitted 
since the poem has already been thoroughly investigated. 

59 

Printed, Wright, Rel. Antiq. II, 120. These ejaculatory verses to 
Mary seem to have been well known. A variant is found as an inlaid 
stanza to Mary in the Vernon MS. of the long poem on the passion of 
Jesus, beginning, Swete Ihesu, now wol I synge; printed, Horstman, R. R. 
II, 14; Furnivall, E. E. T. S. 117-454. 

60 

Hitherto unprinted. Perhaps the most popular of the later poems to 
Mary. It occurs in the Speculum Christiani, printed by Machlinia, c. 
1485. The poem is sometimes ascribed to John Watton, but it was 
doubtless a popular poem before being incorporated in the Speculum. 
Variants are: {A) Harl. MS. 2382 ; printed here. {B) Camb. Pub. Lib. 
MS. Ff. V. 48; printed, Wright, Rel. Antiq. II, 212. (C) Chetam Lib. 
MS. 8009. f. i2i*-4-i2i^u; unprinted; described, Kolbing, Eng. Stud. 
7 (1884) 197. (£>) Brit. Mus. MS. C. 11. a. 28, p. 97 (Speculum Xristiani); 



193 

printed Dibdin, Typ. Antiq. II, 13; also (first 20 11.), Fliigel, Neueng. 
Lesehuch, p. 10. 

This prayer to Mary shows no influence of the chanson d^amour, but 
seems rather to belong to the more commonplace poetry that succeeded 
the chansons in the fifteenth century in France. The stylistic trick of 
Anaphora, so prominent in this poem, was very popular in French poetry 
of the time. Though this poem in its general origin owes much to late 
French poetry, there can be Httle doubt that in this instance the anaphora 
has been ultimately influenced chiefly by the Litany, and this fact in turn 
suggests that perhaps the constant use of the Litany in the Middle Ages 
has much to do with the widespread popularity of this mannerism. The 
parallels between this poem and the Litany are not strikingly close in their 
phrases ; such passages as the following show, however, the similiarity 
of ideas, development, and wording: 'Fro al yuel: lord, delyuer us. 
(Cf. 1. 6.) Fro the aweitingis of the fend : lord, delyuer us (1. 22). Fro 
endeles dampnacioun: lord, delyuer us (1. 16). Fro dredeful pereles of 
oure synnes : lord delyuer us. Fro feere of the enemy : lord, delyuer us- 
Fro unclene thoujtis: lord, delyuer us. . . . That thou yelde euer- 
lastynge goodis to oure good doeris : we prein. . . . That thou fouche 
saaf to jyue and kepe the fruytis of the erthe : we preien thee to heere 
us.' Mask. II, loi. 

I. Liturgical; cf. 30-1, note. 

14. [mine]. MS. has me. 

20. fame. The word name has been crossed out before fame. 

43. A second me precedes haue in MS. 

49. A paraphrase of the Salutation. 

51. flour of al /n kny. Cf. the Horae, BVM., Ant. : 'flour of virgyns.' 
Mask. II, 75. 

61 

Printed, Hortsmann, E. E. T. S. 98-22. The popularity of No. 60 is 
shown as much by its influence upon succeeding lyrics as by the large 
number of MS. copies extant of the poem itself. The present poem is 
little more than a variant of No. 60, but because of the unique way in 
which it is expanded I have printed it here, where it may be compared 
with its original line by line. The poem in its expanded form is quite 
as free from the manner of the chanson as it was in its earUer form. 



62 

Printed, Horstmann, E. E. T. S. 98-33. Shows the influence of No. 60 
in rhyme couplets, in phrases, in petitions for protection, and in general 
method of development ; the resemblance in phraseology, however, is 
not striking. The liturgical sources for the epithets for Mary, and other 



194 

expressions, since they have been pointed out in detail previously, need 
no repetition here. 

1. Mary modur. Cf. 69-1: 'Mary moder.' 

2. /fenk on me. Cf. 60-2 : 'thenk on me.' 

10. And let me neuere die per-lnne. Cf. 60-36: 'lat hem neuere dye 
ther ynne.' 

17-19. Cf. 60, 21-24. 

25. Marie, Mifrendes, quike and dede, etc. Cf. 60-27 • 'And for my 
friends y pray the,' etc. 

63 

Printed, Horstmann, E. E. T. S. 98-133. Like the previous poem, this 
lyric is also reminiscent of No. 60. 
1-2. Cf. 60, 1-2. 

3. Cf. 60-21. 

6. /fat me ne dere no wiht. Also 11. 35-36. Cf. 60-23. 

11. As foou art flour of alle. Cf. 60-51. 

13. Cf. 61, 3-4. 

14. It has never been noticed in this connection that the five joys of 
the Virgin formed a portion of the devotions of the Horae, BVM. 
Though the idea was ultimately patristic without doubt, it was from 
liturgical sources that the English poets received their inspiration to 
sing the joys of Mary. I subjoin the rendering in the Prymer : 

' An othir salutacioun to oure lady. Gaude virgo mater 

* Heil thou, virgyne modir of crist, that bi eere conceyuedist : thurj 
gabriels message. 

* Heil thou, for ful with god, childedist withoute peyne : with lilye of 
chastite. 

' Heil thou, for of thi sone whom thou sorwedist to suffre deeth : the 
resurrexioun shyneth. 

* Heil thou, crist up stijynge, and in to heuene thee seynge : is born bi his 
owne mouyng. 

' Heil marie, that after him stijest, and it is to thee greet honoure : in 
the palece of heuene. 

' Where the fruyt of thi wombe, bi thee is jouun us to use : in euerlast- 
ynge ioye. Amen.' Mask. II, 73. 

64 

Printed, Morris, E. E. T. S. 53-257. 

65 

Printed, Morris, E. E. T. S. 49-195; previously, Wright, Rcl. Antiq. 
I, 102; Matzner, 54; Boddeker, 457. Variant, Harl. MS. 2253, fol. 80; 
printed, Wright, Spec, of L. P., p. 93 ; Boddeker, 216. 



195 

1. A paraphrase of the salutation. 

2. Moder of milde[r]tnisse. Cf. the antiphon, Horae, BVM. : 'Heil, 
queene, modir of merci.' Mask. II, 71. 

29. Bricht and scene quen of storre, so me liht and lere, \ In this false 
fikele world so me led and steore. This thought, that Mary should guide 
the wanderer in this world as a star guides the mariner, and thence, 
probably, that Christ should also direct the way (cf. I. 4), was extremely 
popular in medieval rehgious poetry, and was doubtless a development 
from the hymn, Ave Maris Stella, which was in daily use in the services. 
Cf. 69-22, note. 

66 

Printed, Chambers and Sidgwick, p. 89. 

21-22. Cf. 25-39, note. 

32-33. Monkun wid thi hodi abouht, \ Thou noldest lesen hym for 
nouht. Cf . the versicle after the ninth lesson in the Ofl&ces of the Dead : 
' Now, crist, we axen thee haue merci, we bisechen thee, thou that camest 
to bigge that weren born: wile thou not dampne hem that thou hast 
bou)t.' Mask. II, 146. 

67 

Printed, Horstmann, E. E. T. S. 98-30. Variant, only 29 II. and in- 
ferior in arrangement, Lambeth MS. 853, fol. 26; printed, Furnivall, 
E. E. T. S. 24-6. This poem and the following are poetical paraphrases 
of the liturgical salutation of the five joys of the Virgin, a form of which 
is printed in the note to 63-14. It is unnecessary to point out the close- 
ness of the parallels. 

II. And />ou were Maid hiforn: And aftur, as we rede. Cf. the York 
Manual, In die Paschae, Antiphona: 'Virgo prius ac posterius.' Sur- 
tees Soc. 63-18*. 

33. Ladi seinfe Marie: So Rose in Erber rede. A theme often cele- 
brated. A Frenchman in the 14th century wrote a book on 4a vision 
de la Rose' in which he explained that 4a glorieuse Vierge Marie est 
comparee a la rose pour ses proprietes.' The prologue was entitled: 
'Quasi plantio rose in Iherico. Ecclesiatici xxiiii.' The author of the 
Mirroure of oure Ladye similarly declares : ' Therefore she ys moste 
worthy lykened to a rose, and veryly to a rose in iherico. for as men redeth. 
that a rose of that place passeth in hys fayrenes other flowers.' E. E. T. S. 
E. S. 19-243- 

68 

Printed, Morris, E. E. T. S. 49-87. 

II. Of ^e ibore wi/>-ve wo. This thought may be traced back to the 
early Fathers. It was used by St. Bernard in serm. 4, 3, In vig. nat.: 
"'conceptus fuit sine pudore, partus sine dolore.' It is found also in the 
Blickling Homihes (a.d. 979): 'Maria cende bonne Drihten on blisse.' 



196 

E. E. T. S. 58-3. It was ultimately taken into the liturgy, appearing in 
the Salutation, Gaiide virgo mater, whence probably it vras derived by 
the English poet. Cf. the translation, printed above: 'Heil thou, for 
ful with god, childedist withoute peyne : with lilye of chastite.' 

12. /?at scop /?e and alle /nng. Cf. the Capitulum, Beata es, in the 
Euensong of our ladi, Horae, BVM. : 'Blessid art thou virgyn marie, that 
hast born the lord maker of the world : thou hast getyn hym that made 
thee.' Mask. II, 61. 

33-40. The poems to Mary are frequently reminiscent of the legends 
that are connected with her Hfe. With these lines may be compared the 
following from a version of the Assumption legend ; Christ is speaking 
to Mary : ' Moder, bUth now loke hou be | And of no thing haue l^ou 
drede. 1 For with mi-self I sail )>e lede ; | Whare I am king, >ou sail be queue, 
I With more bhs >an men may mene. . . .' | And hastih when scho 
come >are, | Al be saintes bat bar ware | Honord hir halely bidene, | And 
bare ban was scho corond que[ne].' Horstmann, Alt. Eng. Leg. p. 116. 

69 

Printed, Furnivall, E. E. T. S. 15^-291. No poem in this collection 
shows more certainly the influence of the French religious lyric. The 
choice of epithets, the love for the French order of phrase construction 
in placing the noun before the adjective {Turtill irew, Aurora bryght, Lyle 
fragrant, Aungels alle, etc.), and the tendency to select rhyming words like 
excellence and ascence, somewhat in the manner of the aureate style, place 
this poem not only in the school of Chaucer and Lydgate, but also sug- 
gest that all these later poets when writing hymns to the Virgin went to 
the French rehgious lyric for their inspiration. To be grouped here are 
the following : 

Chaucer's ABC poem. 

Occleve's Ad beatam Virginem (2 poems). 

Lgdyate's various poems to the Virgin. 

Dunbar's Ane Ballot of our Lady (2 poems). 

2. Turtill trew. This epithet is not found in the English liturgy, nor 
in EngUsh religious lyric poetry before Chaucer. The expression was 
extremely popular, however, in French poetry. St. Bernard had early 
called attention to the parallel : * Turturis agnoscitur castitas in quacum- 
que aetate. Compare uno contenta est, quo amisso alterum jam non 
admittit.' In Cant. 59, 7. So eminently fitting was the comparison 
that it seems to have been made immediate use of in the Latin and French 
hymns to Mary. So in a Latin poem of the 12th century is found, 
doubtless, a reference to St. Bernard's text, as follows: 'Vox tua, vox 
turturis.' Mone II, 515. And in the serventois, which grew up later, 
there is no more popular theme. ' La turtre entens pour la vierge Marie,' 



197 

declares the poet of the 'Taille de chant royal,' the subject of whose 
song is the turtre gracieuse (Langlois, 173), and Rutebeuf sings: 'Turtre 
qui ses amours ne mue.' 

3. Aurora bryght, clere as the day. Frequent in French poetry. It 
is derived ultimately from the liturgy; cf. 1. 17, note. The epithet, 
I beheve, is practically unknown in English poetry before Chaucer, 
though it is common enough in Latin poetry. As Mone remarks (II, 
No, 328, note) Mary is called Aurora because Christ is the Ught of the 
world and the Sun of Righteousness. 

5. Lyle fragrant eke of the walk. Cf. the hymn, Tu miro, translated 
in the Mirroure of oure Lady: 'Thow art veryly a swete smellynge 
lyllye.' E. E. T. S. E. S. 19-216. The French were especially fond of 
comparing Mary to a lily, a parallel which they worked out in several 
elaborate details; thus in the Regies de la seconde Rhetorique is found 
this bit of information for would-be reUgious poets : 'Item, eUe est com- 
paree a la fluer de lis, pour ce que la dicte fieur porte en miHeu de soy la 
croix, comme elle porta Jhesu Crist en ses precieux flans.' Langlois, 
p. 72. of the walk means probably growing beside the wall, as descriptive 
of the lily. 

9-1 1. This theme is celebrated in the hymn, In throno, the first stanzas 
of which are translated in the Mirroure of oure Lady as follows : 'Thou 
holy vyrgyn syttynge in trone nexte vnto god, geuynge thyself e a throne 
to hym moste plesaunte aboue all thynges. Tho aungels that are called 
trones prayse wyth tho aungels that ar called potestates ; and the hyghe 
orders of aungels, that ys cherubyn & Seraphyn, prayse the togyther with 
hygh soundynge praysynges.' The writer of the Mirroure explains that 
'in the four verses of thys hympne ye prayse oure lady of seuen thynges. 
The fyrste ys. that she hathe a seat in heuen aboue all creatures next vnto 
god.' E. E. T. S. E. S. 19-184. The idea may go back to St. Bernard ; 
cf. hom. 2, I : 'Nonne tuo, immo veritatis judico, ilia, quae deum habuit 
filium, super omnes etiam choros exaltabitur angelorum? annon deum 
et dominum angelorum Maria suum audacter appelat filium (Luc. 2, 48) ? 
quis hoc audeat angelorum?' Quoted by Mone (II, p. 7) on a similar 
passage in a Latin hymn. 

17. It seemed impossible for a poet who wrote in imitation of Lydgate 
to refrain from a mention of 'Phebus.' The custom of comparing 
Mary to the sun may be traced back through French poetry to the ancient 
liturgies and especially to the Hues: 'rosa processit sicut sol. Oritur, 
ut lucifer inter astra. Velut sol micans cuncta conscendisti globorum 
luminaria.' Sequence, De Assump. B. M., Surtees Soc. 60-294. Cf. 
1. 3, note. 

19. Lady saunzpere. A constant epithet in French poetry. 

20. Empres of helk. A very frequent epithet in later reUgious poetry, 
both French and English. Cf. also an 'orisoun' in the Prymer: 'Heil 



198 

. . . Marie, queene of heuene; lady of the world: empresse of helle.^ 
Mask. II, 78. 

22. Stormy s ayene of cruell syn \ That puyssauntlye us do assayle. St. 
Bernard seems to have been the ultimate source of this very popular 
thought. In the second homily on the Missus est, after explaining how 
Mary's name means Star of the Sea, and how she is raised above * this 
great and spacious sea of life,' he goes on to urge : 'Whosoever thou art 
who knowest thyself to be tossed about among the storms and tempests 
of this troubled world rather than to be walking peacefully upon shore, 
turn not thine eyes away from the shining of this star, if thou wouldst not 
be overwhelmed with the tempest. If the winds of temptation arise, 
if you are driving upon the rocks of tribulation, look to the star, Mary. 
If you are tossed on the waves of pride, of ambition, envy, rivalry, look 
to the star, invoke Mary. If wrath, avarice, temptations of the flesh 
assail the frail skiff of your mind, look to Mary.' Trans, by Eales (III, 
315). After St. Bernard the idea became popular in Latin, French, and 
English religious writings ; so that the author of the Mirroure of oure 
Ladye declared on good authority : * And furthermore som say that for 
at matyns tyme ther appery th a sterre in the fyrmament wherby shypmen 
ar rewlyd in the see, & brynge themselfe to right hauen, & for our mercy- 
full lady is that ster that socoureth mankynde in the troubelous se of this 
worlde & bringeth her louers to the hauen of helth.' E. E. T. S. E. S. 
19-14. 

27. Entrete fn babe, so, queue on hie, | In whom to pe is no denye. Quite 
possibly an echo from some Mary legend; cf. the following : '"Whatte- 
euere it be ?e preyon fore, | Moder," he say th, " and queue I-core, | I 
graunte wel joure bone." ' Horstmann, Alt. L. CXVI. 



BIBLIOGRAPHY 

I. Printed Sources of the Medieval English Lyric 

This list of the printed collections of the Middle EngUsh Lyric is not 
complete; only the more important are here mentioned. 
BoDDEKER, K. Altenglische Dichtungen des MS. Earl. 2253. Berlin, 

1878. 
BoDDEKER, K. Englische Lieder und Balladen aus dem 16. Jahrhun- 

dert. In Lemcke's Jahrbuch, Neue Folge, ii, 81-105; 210-239; 

347-367; iii, 92-129. MS. Cotton. Vesp. A, 25. 
Chambers, E. K., and Sidg^vick, F. Early English Lyrics, Amorous, 

Divine, Moral and Trivial. London, 1907. 
Fehr, Bernhard. Die Lieder der Hs. Add. 5665. Archiv 106 (1901), 

262-285. 



199 

Fehr, Bernhard. Die Lieder des Fairfax MS. (Add. 5465 Brit. Mus.) 

Archiv 106 (1901), 48-70. 
Fehr, Bernhard. Weitere Beitrdge zur englischen Lyrik des 15. und 16. 

Jahrhunderts . Archiv 107 (1901), 48-61. MSS. Sloane 2593, 1212, 

3501; Harley 541, 367, 7578. 
Flugel, Ewald. Liedersammhmgen des xvi. J ahrhwiderts , hesonders 

aus der zeit Heinrlchs VIII . Anglia 12 (1889), 225-272 ; 585-597 ; 

26 (1903), 94-285. MSS. Add. 31922; Royal MS. Appendix 58 ; 

Douce Fragments 94', 94; Bassus; Balliol 354. 
FiJLGEL, Ewald. Neuenglisches Lesebuck. Band I, Halle, 1895. 
FuRNiVALL, F. J. Early English Poems and Lives of Saints. Transac- 
tions of the Philological Society, 1858, part ii. MSS. Harl. 913, 

Egerton 613, Add. 22283. Berlin, 1862. 
FuRNivALL, F. J. Hymns to the Virgin and Christ. E. E. T. S. (1867). 

Chiefly from Lambeth MS. 853. 
FuRNiVALL, F. J. Minor Poems of the Vernon Manuscript. Part II. 

E. E. T. S. 117 (1901). 
FuRNiVALL, F. J. Political, Religious, and Love Poems, from Lambeth 

J06 and other sources. E. E. T. S. 15 (1866). 
Hall, Joseph. Short Pieces from MS. Cotton. Galba E. IX. Eng. Stud. 

21 (1895), 201-209. 
Heuser, W. Die Kildare-Gedichte, die dltesten mittelenglischen denk- 

mdler in Anglo-Irischen uberlieferung. Bonner Beitrage zur Anglis- 

tik, xiv (1904). Harl. MS. 913. 
HoRSTMANN, Carl. The Minor Poems of the Vernon MS. E. E. T. S. 

98 (Part I, 1892). 
Jordan, R. Kleinere Dichtungen der Handschrift Harley 3810. Eng. 

Stud. 41 (1909), 253-266. 
Kail, J. Twenty-six Political and other Poems . . . from the Oxford 

MSS., Digby 102 and Douce 322. Part I, E. E. T. S. 124 (1904). 
Matzner, E. AUenglische Sprachproben, Pt. I. Berlin, 1867. 
Morris, R. An Old English Miscellany. E. E. T. S. 49 (1872). Texts 

from Jesus College, Oxford, I, 29, Cotton. Calig. A. ix, Egerton 613, 

Add. 27909, etc. 
Morris, R. Old English Homilies of the Twelfth Century. . . . Second 

series, with three thirteenth century hymns from MS. 54 D. 4. 14 in 

Corpus Christi College, Oxford. E. E. T. S. 53 (1873). 
Padelford, F. M, Early Sixteenth Century Lyrics. Boston, 

1907. 
Perry, G. G. Religious Pieces ifi Prose and Verse, edited from Robert 

Thornton's MS. {Cir. 1440) in the Lincoln Cathedral Library. E. 

E. T. S. 26 (1867). 
Reed, Edward B. The Sixteenth Century Lyrics in Add. MS. 18752. 

Anglia ss (1910), 344-369- 



200 

Root, Robert K. Poems from the Garrett MS. Eng. Stud. 41 (1910), 
360-379. 

Smith, G. Gregory. Specimens of Middle Scots. Edinburgh, 1902. 

TuRNBULL, W. B. D. D. The Visions of Tundale: together with Metrical 
Moralizations and other fragments of early poetry, hitherto inedited. 
Edinburgh, 1843. 

Varnhagen, Hermann. Die Kleinere Gedichte der Vernon-und-Simeon- 
Handschrift. Anglia 7 (1884), 280-315. 

Wright, Thomas. The Owl and the Nightingale: An early English 
Poem attributed to Nicholas de Guildford, with some shorter poems from 
the same manuscript. Percy Society 1843. Texts from MS. Cotton. 
Calig. A. IX. 

Wright, Thomas. Songs and Carols, now first printed from a Manu- 
script of the Fifteenth Century. Percy Society 23 (1847). 

Wright, Thomas. Specimens of Old Christmas Carols. Percy Society 
(1841). Texts from Sloane 2593, Harl. 2252, 5396, 

Wright-Halliwell. Reliquiae Antiquae. Scraps from ancient Manu- 
scripts illustrating chiefly Early English Literature and the English 
Language. London, 1845. 

ZupiTZA, J. Die Gedichte der Franziskaners Jacob Ryman. Archiv 
89 (1892), 167-338. 



II. Critical and Other Works 

Anglia; Zeitschrift fur englische Philologie enthaltend Beitrdge zur Ge- 
schichte der englischen Sprache und Liter atur. Halle a. S., 1877 ff. 

Archiv fiir das Studium der neueren Sprachen und Liter atur en. Begrundet 
von Ludwig Herrig. Braunschweig, 1846 ff. 

Aust, Julius. Beitrdge zur Geschite der mittelenglischen Lyrik. Archiv 

70 (1883), 253-290. 
Bale, John. Scriptorum illustrium majoris Britanniae Catalogus. 

Basel, 1559. 
Becker, Heinrich. Die Aufassung der Jungfrau Maria in der alt- 

franzosischen litter atur. Gottingen, 1905. 
Brakelmann, Julius. Die altfranzosische Liederhandschrift Nro. 389 

der Stadtbibliothek zu Bern. Archiv 42 (1868), 241-392; 43, 241- 

394. 
Catalogue of the Harleian Manuscripts in the British Museum, A . London, 

1808. 
Catalogue General des manuscripts des Bibliotheques Publiques de France. 

Paris, 1886 ff. 
Chevalier, U. Poisie liturgique du moyen dge. Paris, 1893. 



201 

Chevalier, U. Repertorium Hymnolo^kum: catalogue des chants 
hymnes . . . en usage dans L'Eglise Latine. 2 vols. Louvain, 1892- 

97. 

Cohen, Helen L. The Ballade. This study will be a history of this 
type of l>Tic from the Middle Ages to the present time. In prepa- 
ration. 

Daniel, H. A. Thesaurus Hymnologicus Sive Hymnorum Cantkorum 
SequerUiarum circa Annum M.D. usitatarum Collectio amplissima. 
Lipsiae, 1862. 

DiBDiN, T. F. Typographical Aniiquities. . . . Begun by the lak Joseph 
Ames . . . considerably augmented by William Herbert and now 
greatly enlarged, etc. 3 vols. London, 18 10. 

Dre\t:s, G. M. and Blume, C. Analecta hymnka medii aevi. 52 vols. 
Leipzig, 1886 ff. 

Englischen Studien. Herausgegeben von Dr. E. Kolbing. 1877 fif. 

Early English Text Society. 1864 ff. 

Erskine, John. The Elizabethan Lyric. Xew York, 1903. 

Grein und Wulker. Biblwthek der angelsachisschen Poesk. 3 vols. 
Leipzig, 1883 ff. 

Halliwell, J. O. An Account of tlie European Manuscripts in the 
Cheltam Library, Manchester. Manchester, 1842. 

Histoire litteraire de la France. Par des ReUgieux benedictins de la con- 
gregation de S. Maur. Continuee par des membres de I'lnstitut. 
Paris, 1733 ff. 

HoRSTMANN, C. AltengUsche Legenden. Neue folge. Heilbronn, 1881. 

HoRSTiiANN, C. Osbern Bokenam's Legotden in Kolbing's .Altenglische 
Bibliothek, vol. I. Heilbronn. 1883. 

HoRSTiL\N, C. Yorkshire Writers; Richard Rolle of Hampole and his 
Followers. 2 vols. London, 1896. 

Inge, William R. Christian Mysticism: considered in eight lectures, 
delivered before the University of Oxford. London, 1899. 

Jahrbuch fUr romanisclie und englische Sprache und Litter atur. Herausge- 
geben von Lud\N4g Lemcke. Neue Folge, 1874 ff. 

James, M. R. .-1 Descriptive Catalogue of the Manuscripts in the Library 
of Emmanuel College. Cambridge, 1904. (All the descriptive cata- 
logues by Mr. James should be consulted.) 

Jeanroy, a. L^s Origines de la Poesie lyrique en France au Moyen 
Age. Deuxieme edition, avec additions et un appendice biblio- 
graphique. Paris, 1904. 

Jeanroy, a. Melanges d'Ancienne Poesie Lyrique. Chansons, Jeux 
Partis, et Refrains hiedits du xiij' Siecle. Paris, 1902. 

JuBiNAL, Achille. CEuvres completes de Rutebeuf, Trouvere du xiik Sihcle. 
Paris, 1874. 

Langlois, E. Recueil d'arts de seconde rhetorique. Paris, 1902. 



202 

Lauchert, F. Ueher das Englische Marienlied im 13 Jahrhundert. 

^Engl. Stud. 16 (1891), 124-142. 
Mabillon, J. Sancti Bernardi ahhotis primi Clarae-Vallensis Opera 

omnia. Parisiis, 17 19. 
Macaulay, G. C. The Complete Works of John Gower. Oxford, 1901. 
MacCracken, Henry Noble. The Lydgate Canon. Appendix to the 

Philological Society's Transactions, 1907-1909. London, 1908. 
Martene, Edmund. De antiques ecclesiae ritibus ligri tres ex variis in- 

signiorum ecclesiarum pontificalihus sacramentariis missalibus. 4 vols. 

Collect! Antverpiae, 1763-64. 
Maskell, William. Monumenta Ritualia Ecclesice Anglicance. 3 vols. 

London, 1846-47. 
Maskell, William. The Anciejit Liturgy of the Church of England, ac- 
cording to the uses of Sarum, Bangor, York and Hereford, and the 

Modern Roman Liturgy. London, 1846. 
Meyer, P. Les Manuscrits Franqais de Cambridge. Romania 15 

(1886), 236-357. 
Meyer, P. Melanges de Poesie Anglo-Normande. Romania 4 (1875), 

370-397. 
Meyer, P. Notice et Extraits du MS. 8336 de la Bibliotheque de Sir 

Thomas Phillipps a Cheltenham. Romania 13 (1884), 497-541. 
Meyer, P. Notice du MS. Bodley 57. Romania 35 (1906), 570-582. 
Migne, J. P. Patrologiae cursus completus . . . series Latina. Parisiis, 

1844-80. 
Modern Language Notes. Baltimore, 1886 ff. 
Modern Philology. Chicago, 1903 ff. 

Mone, F. J. Hymni Latini Medii Aevi. 3 vols. Friburgi, 1853-55. 
Morel, P. Gall. Lateinische Hymnen des Mittelalters. Einsiedeln, 1866. 
Murray, J. A. H. A New English Dictionary on Historical Principles. 

Oxford, 1888 ff. 
Palgrave, F. T. The Golden Treasury. London, 1861. 
Paris, Gaston. La Litter ature Franqaise au Moyen Age. Paris, 1905. 
Paris, Gaston. Les Origines de la Poesie Lyrique en France au moyen 

age. Extrait du Journal des Savants. Paris, 1892. 
Pollard, A. W. Fifteenth Century Prose and Verse. Westminster, 

1903- 
Raynaud, Gaston. Bibliographic des Chansonniers Franqais des xiii^ 

et xiv' Siecles. Paris, 1884. 
Raynaud, Gaston. Recueil de Motets franqais des xii^ et xiii^ Siecles. 

2 vols. Paris, 1881-83. 
Reports of the Historical Manuscripts Commission. London, 1883 ff. 
Ritson, Joseph. Bibliographia Poetica. London, 1802. 
Romania: Recueil Trimestriel consacre a V etude des langiies et des littera- 

tures Romanes. Paris, 1872 S. 



203 

ScHAFF, Philip. Rise and Progress of Maryolatry. Contemporary Re- 
view, April, 1867. 

ScHiPPER, J. The Poems of William Dunbar. Denkschriften der 
kaiserlichen Akademie der Wissenschaften. Vols. 40-42. Wien, 
1892-93. 

SCHIPPER, J. Englische Metrik. Bonn, 1881. 

ScHiPPER, J. A History of English Versification. Oxford, 1910. 

Simmons, T. F. The Lay-Folks' Mass-Book. E. E. T. S. 71 (1879). 

Societe des Anciens Textes Franqais. Paris, 1875 ff. 

Steffens, Georg. Die altfranzosische Liedhandschrift der Bodleiana in 
Oxford, Douce 308. Arcliiv 97 (1896), 283-308; 98 (1897), 59-80; 
343-382; 99 (1897), 77-100; 339-388; 104 (1900), 331-354. 

Stengel, E. M. Codicem manu scriptum Dighy 86. Halis, 187 1. 

Stevenson, J. Anglo-Saxon and Early English Psalter. Surtees Soc. 
1843. 

Stevenson, J. Libellus de vita et miraculis S. Godrici. Surtees Soc. 

1847. 
Stobart, J. C. The Chaucer Epoch. London, no date. 
Surtees Society, The Publications of the. London, 1835 ff. 
Ten Brink, B. Geschichte der Englischen Litteratur. Berlin, 1877. 

Vol. I, translated by H. M. Kennedy, New York, 1889. 
Thomae Aquinatis . . . Opera Omnia. Parisiis, 1879. 
Three Primers Put Forth in the Reign of Henry VIII. Oxford, 1848. 
Thorpe, Thomas. Catalogue of upwards of fourteen hundred manuscripts 

upon vellum and paper. London, 1836. 
Vollhardt, W. Einfluss der Lateinischen geistUchen Litteratur auf einige 

kleinere S chop fungen der Englischen ilbergangsperiode. Leipzig, 1888. 
Wackernagel, W, Altfranzosische Lieder und Leiche. Basel, 1846. 
Wackernagel, p. Das deutsche Kirchenlied. Leipzig, 1864. 
Waterworth, J. The Canons and Decrees of the Sacred and (Ecumenical 

Council of Trent. London, 1848. 
WernEIi, R. M. Lyrik und Lyriker , eine untersuchung. In Lipps, 

Theidor, and Werner, R. M., Beitrage zur asthetik. 1890-91. 
Woodberry, G. E. The Appreciation of Literature. (Chapter II, 

Lyrical Poetry.) New York, 1907. 
Wordsworth, C, and Littlehales. H. The Old Service-Books of the 

English Church. London, no date. 
WtJLKER, R. P. Altenglisches lesebuch. Halle, 1874. 



OCT 4 191 



One copy del. to Cat. Div. 




iiliiiiiliiiiiiit 



